Serenaden

1. Serenade for strings in E Minor, Op.20
Composed by Edward Elgar
with Budapest Strings

2. Serenade for strings in E flat, Op 6
Composed by Josef (composer) Suk
with Budapest Strings

3. Italian Serenade, for string quartet in G major
Composed by Hugo Wolf
with Budapest Strings

4. Poème for violin & orchestra, Op. 25
Composed by Ernest Chausson
with Budapest Strings

Serenaden,Ernest Chausson,Edward Elgar,Josef (composer) Suk,Hugo Wolf,Budapest Strings,Capriccio,Chamber,Classical,Classical Composers,Classical Music,Concerto,Orchestral,Quartet for Four String Instruments,Romantic Serenade/Cassation/Divertimento,Violin Concerto

Average customer rating: Dismal! A divider, not a uniter Striving for effect (or maybe just showboating?) A splendid rendition She did it

Jean Sibelius: Violinkonzert/Serenaden/Humoreske Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Mutter, Anne-Sophie | ( M ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Mendelssohn/Brahms: Violin Concertos Anne-Sophie Mutter: The Berlin Recital Brahms: Violin Concerto; Schumann: Fantasie, Op. 131 Tchaikovsky, Korngold: Violin Concertos Vivaldi: The Four Seasons/Tartini: The Devil's Trill ASIN: B000001GRK Release Date: 1996-02-13

Tracks:

1. Conerto For Violin And Orchestra In D Minor, Op. 47: 1. Allegro moderato
2. Conerto For Violin And Orchestra In D Minor, Op. 47: 2. Adagio di molto
3. Conerto For Violin And Orchestra In D Minor, Op. 47: 3. Allegro, man non tanto
4. Conerto For Violin And Orchestra In D Minor, Op. 47: Serenade No. 1 In D Major, Op. 69a - Andante assai
5. Conerto For Violin And Orchestra In D Minor, Op. 47: Serenade No. 2 In G Minor, Op. 69b - Lento assai
6. Conerto For Violin And Orchestra In D Minor, Op. 47: Humoresque No. 1 In D Minor, Op. 87 No. 1 - Commodo

Amazon.com essential recording

The very first notes of this extraordinary performance show how thoughtfully Anne-Sophie Mutter has approached the work. Sibelius's marking for the solo violin is dolce ed espressivo, which for most violinists would mean "with vibrato." But Mutter plays senza vibrato and achieves a hauntingly expressive effect over the muted pianissimo oscillations of the orchestral violins. Happily, she sustains this high level of engagement with the score through the entire account, playing the taxing solo part with riveting intensity, making every note count, producing a gloriously rich and varied tone, and giving the listener a memorable musical experience in the process. The effect of all this on André Previn and the Staatskapelle Dresden, to paraphrase Mark Twain, appears to have been prompt and electric. They give a spectacular reading of the score, one notable for both its sonorous depth and its sense of atmosphere. --Ted Libbey

Customer Reviews:

Dismal!.......2007-06-21

I am sorry to disagree with those who seem to like this performance as much as they do. I think that they should listen to what Isaac Stern does with this music -- to me the way it should be played. Here the soloist playing is, well, fussy and contrived. Mutter often emphsizes the wrong things and phrases and plays some of the notes in odd ways that I doubt the composer intended. Her rhubato, for example, does not inform, but instead distracts. Mutter and the orchestra play the work so slowly that they strain and sometimes very nearly lose altogether the integrity of the music's melodic line. How can one play Sibelius like this? (I do not think I can blame the tempos chosen on the conductor. Mutter seems determined to play almost everything too slowly.) Mutter's playing betrays no understanding of this music at all. Add the fact that neither the conductor nor the orchestra seems to have any idea of what Sibelius might be about, producing as a result laughably dull, directionless accompaniment, and we are left with a dismal performance by all.

A divider, not a uniter.......2005-11-02

Violin mavens aren't middle-of-the-road, any more than opera buffs. Mutter typically divides opinion strongly about whether her highly technical, extremely detailed and personal playing is a sign of exceptional musicianship or the opposite: a self-absorbed fussiness that ignores the composer so that everything can focus on herself.

I fall into the latter group. To my ears this is an impossibly fussed-over Sibelius concerto, with hardly a natural phrase to be heard. I won't go into detail--what's the point? The consensus here seems to be that this is a gorgeous woman playing a gorgeous violin in a gorgeous virtuosic romp. Okay.

Striving for effect (or maybe just showboating?).......2005-08-28

There seem to be two Anne-Sophie Mutters. The first was the violinist from her debut till about 1994, who made some of the best recordings I've heard in modern times, even if some of them were perhaps a *little* over-hyped. The second is this far more technical, far more, well, egotistical soloist, who seems to say in every recording, "Woohoo, look what *I* can do." Or, to put it another way, she plays the violin but not the concerto. Watching her in a recent documentary comment on her first recording of the Beethoven concerto, she said it had nothing to do with how she would handle the piece today. Undoubtedly so, and what a pity. I have nothing against interpretations that get off the beaten path and take us to unfamiliar regions, but her journey today sounds superficial, with overly-mannered playing (slooowing down at the eeend of eeevery phraaaaaase) and a futzing with vibrato and color every ten bars, rather than saving her special effects for key dramatic moments. That latter would demonstrate to me that she knows the *concerto* as well as the *violin.* As it is, now that she has conquered the fiddle--and there is no doubt that she has; she almost seems bored with it at times--she should dedicate her life to studying the *scores.* Hubby Andy (although he wasn't her hubby back then) wades through the work with a decaffeinated Staatskapelle Dresden, following his partner rather than sparring with her. The second movement works best, where things really do get a bit over the top at the big climax, but even here it comes dangerously close to hysterics and melodrama. This concerto to me is about fire meeting ice. In their hands, it's about blubber meeting more blubber.

For some really intense accounts, try Heifetz/Beecham, Mullova/Ozawa (and I'm generally not an Ozawa fan, but the two of them struck magic here), and above all, the gold standard, Oistrakh/Rozhdestvensky, where the fire and ice are almost too much to bear, and the technique is just as assured, if not as showboaty. Listening to these recordings, you get the impression the artists studied the work first and then decided how they would approach it from the point of view of violin technique. I greatly admire Mutter's prowess on her instrument, but technique is not an end to itself, and I have not gotten the feeling she has really penetrated a work to the core since her 1992 recording of the Berg concerto. Perhaps this is the danger of being the world's number one violin star at the moment. If so, she needs to get over herself.

A splendid rendition.......2005-01-28

The post-Karajan Mutter continues to impress me with her growing musical maturity, and her in-depth exploration of the Sibelius is yet another testament to her artistry. As with all of her recordings, her fabulous tone is evident throughout, as is a technique that is more than equal to the challenges of the composer. I would dispute the one reviewer who argues that she slows down in the more technically challenging passages; certainly one cannot make that claim in the 3rd movement, which is certainly as brisk in its tempi as any recording available on the market today, and in any case, Mutter has always had a tendency to try and draw everything she can out of each note. A particularly notorious example of this would be her youthful recording of the Beethoven concerto with Karajan, where slow tempi cause the whole piece to become absolutely bogged down to a level beyond redemption. One certainly cannot find anything of that sort in this recording of the Sibelius, which remains a coherent performance throughout.

So why only 4 stars? Well, first and foremost, Previn & the Dresden Staatskapelle really seems to be phoning in their performance at times, and with a concerto like this, such a defect can cause quite a bit of damage. This could be due to mike placement as much as anything, but whether it is the sound engineer or the performers themselves, the result is an ensemble that sounds at times disengaged and at others overwhelmed by the soloist.

Also, as another reviewer has observed, a 47-minute CD at full price (where a third of the music consists of nice but relatively inconsequential compositions), simply put, is a ripoff. Why not fill it out a little? Put all six Humoreskes on the recording, or a tone poem if you like, or perhaps a lesser known piece like the Suite Mignonne. There are plenty of options, but none is explored here. Consumers expect a full CD for full price, so DG should deliver accordingly.

However, the consumer should be have nothing to complain about when it comes to Mutter's performance. She certainly appears to be fulfilling all of her potential as an artist.

She did it.......2001-10-03

When I first bought the CD I was skeptical, I haven't found many non-Finnish musicians who could make Finnish music sound like it should. You have to be able to imagine vasts forests and thousands of blue, clean lakes on a sunny day in the backgraound. But Mutter did it. She plays with feeling and yet she is very sharp. The only diappoinment was the conductor, I think he did a very sloppy job, the orcestra was dragging along too much, it sounded like they needed a good kick in the pants. But Mutter's performance made it all up. One of the best performances of Sibelius I've ever heard.

Average customer rating: Three Marx Works That Evoke Music Past Outstanding homage to the classics of music

Joseph Marx: Alt-Wiener Serenaden; Partita in Modo Antico; Sinfonia in Modo Classico Manufacturer: Asv Living Era ProductGroup: Music Binding: Audio CD General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Similar Items: Joseph Marx: Nature Trilogy Joseph Marx: The Piano Concertos Joseph Marx: Orchestral Songs Emil Nikolaus von Reznicek: Der Sieger Emil Nikolaus von Reznicek: Schlemihl; Raskolnikoff ASIN: B00064WSL4 Release Date: 2005-01-25

Tracks:

1. Allegro Moderato Ma Deciso (Intrada)
2. Andante Appassionata (Aria)
3. Tempo Di Menuetto
4. Scherzo Con Marcia (Presto)
5. Allegro Poco Moderato
6. Presto
7. Adagio Molto
8. Vivace
9. Allegro Con Brio
10. Adagio Ma Non Troppo
11. Tempo Di Minuetto
12. Poco Presto

Customer Reviews:

Three Marx Works That Evoke Music Past.......2005-03-16

Joseph Marx (1882-1964) was considered a conservative throwback toward the end of his life because much of his music was written in a combination of late Romantic and Impressionistic styles. But when he came to write the three late works presented here he became even more conservative in the sense that he reverted to even older styles, those of the Renaissance polyphonists or the symphonists and quartet writers of the Classical period, Haydn in particular. There certainly was precedent for that sort of homage to the styles of earlier masters, and it is no surprise that Marx, whose knowledge of the old masters was profound, should do the same.

The first of these works is 'Alt-Wiener Serenaden' ('Old Viennese Serenades'), a four movement work for large orchestra that invokes the music of his beloved city and of some of the music associated with it. The first movement, 'Intrada,' immediately strikes one with its charm and evocation of times past, gemütlichheit and courtly manners combined. 'Aria' is a dreamy song featuring wind solos. The 'Minuet' is really more of a Ländler, that forerunner of the waltz entirely fitting in a Viennese suite; it quotes Haydn directly. The 'Scherzo con marcia (Presto)' is a lightly scored contrapuntal romp.

Marx wrote three string quartets. In the 1940s he orchestrated the Second and Third for string orchestra. The string quartet versions have already been recorded on ASV by the Lyric Quartet. The versions for string orchestra do not appreciably change the musical materials of the quartets, but the sound of the full ensemble is richer.

'Quartetto in Modo Antico,' arranged from the Second Quartet, comprises four movements in, in order, the Mixolydian, Dorian, Phrygian, and again Mixolydian modes. Written in homage to the contrapuntal music of such composers as Palestrina, Lassus and Tallis, there is the medieval feeling associated with this harmonic language. Most striking is the slow movement, in Phrygian mode [the scale one hears by playing the white keys from E to e]; at times one is reminded some of the music of Ralph Vaughan Williams, and then one realizes it is because we associate this mode with his 'Variations on a Theme of Thomas Tallis' in that mode and as well as RVW's use of contrapuntal string writing. The last movement is a marvelous double fugue.

'Quartetto in Modo Classico,' the orchestrated Third Quartet, is written in neoclassic form but also in part in late Beethovenian harmonic language. His is clearly an homage to the music of Classic Period, at least in the forms used, but Marx cannot resist some added-note harmonies and a smidgen of chromaticism, although extremely mild compared to the First Quartet. The homage is absolutely genuine and heartfelt; there is none of the irony implicit in, say, Prokofiev's 'Classical Symphony' or Harold Shapero's 'Symphony for Classical Orchestra.' Perhaps, among modern composers, the feeling comes closest to that magnificent late-Beethovenian slow movement in George Rochberg's Third Quartet. The Adagio is serenely beautiful; the first time I heard it I had to go back immediately and hear it again two times. The third movement, Tempo di Menuetto, is a particularly gracious specimen that ventures occasionally into more chromatic harmonies, but its Trio reverts to a musette-like rustic drone, a charming touch, before it returns to the main theme. The Finale is a masterfully crafted contrapuntal 6/8 romp (with a 3/4 middle episode). The return of the A section incorporates the opening section of the quartet's first movement, a subtle rounding-out of the entire work.

We have the previous Amazon reviewer, Berkant Haydin, to thank for this renaissance of the music of Joseph Marx; he has been more or less single-handedly responsible for spearheading it. His booklet notes for this release are excellent. He maintains a Joseph Marx website that contains all manner of additional information about the composer. (You can find it at joseph-marx.org) The playing of the Bochum Symphony Orchestra under Steven Sloan, on this and the previous orchestral releases, is simply wonderful. We are waiting for recordings from them of the two piano concerti, which I understand have already been recorded but not yet released, and the magnificent 'Herbst-Symphonie' ('Autumn Symphony'). The growing number of Marx enthusiasts are waiting eagerly.

Scott Morrison

Outstanding homage to the classics of music.......2005-01-28

When Wilhelm Furtwaengler in 1952 called Joseph Marx (1882-1964) the 'leading force of Austrian
music', Marx's 50-year-old career as a composer was already over; but as one of the most
dazzling and important personalities in 20th-century Austrian music, he had already left his
mark on whole generations of musicians. Highly revered by the great majority of his Austrian contemporaries, Marx also enjoyed within the
international community an undisputed reputation as a remarkable composer and teacher.

As an impressionist who nonetheless called himself a 'Romantic', Joseph Marx never tried to
conceal his deep admiration for the founding fathers of music - such as Wolfgang Amadeus Mozart,
Robert Schumann, Johann Sebastian Bach, Joseph Haydn, Franz Schubert. Thus it was that he
sometimes used in his own works variations of old tunes, as for example in his Alt-Wiener Serenaden, in
which he quotes themes from the works of Karl Michael Ziehrer and Joseph Haydn, or in his works for
string orchestra such as Partita in modo antico and Sinfonia in modo classico, in which Marx paid most
impressive homage to his musical models. But why did Marx, towards the end of his composing life (from
approx. 1935-45), turn away from his impressionistic and late Romantic style to devote himself for the most part to chamber-like music in the early Romantic and classicising manner?

We are dealing here with a period in which Central Europe, under the influence of National
Socialism, became increasingly involved in political conflict, and in which art (according to Joseph Marx
one of the most basic possessions of human culture) was gradually losing its importance - something
that Marx had seen coming. The 'new' style that he favoured in his late music was therefore not merely a
riposte to avant-garde music and an instructive guideline for young composers; by adopting such a style
Marx had hoped to protect the important spiritual values that he associated with this classical style, and
to rescue them 'for better times'. And his efforts were certainly not without success. The compositions
from this late period earned him the same high recognition that he had received for his early songs, which
had made him famous.

The Alt-Wiener Serenaden ('Old Vienna Serenades') brought together much that is regarded to be
'Austrian' in music. Written in 1941/42, they were given their first performance on 14 April 1942 by Karl
Boehm and the Vienna Philharmonic, to which the composer dedicated this work in celebration of the
orchestra's centenary.

The most atypical work of Joseph Marx is probably the Partita in modo antico for string orchestra
(originally written for string quartet in 1937/38, arranged for string orchestra in 1945). Atypical, because
there is a complete absence of chromaticism and irregular dissonances - and this from a composer who,
until the early 1930s, had wallowed in colourfully Romantic lusciousness.

The Sinfonia in modo classico (originally composed for string quartet in 1940/41 and arranged for
string orchestra in 1944) once again takes the listener through a journey of Viennese music history.
Though the form once again has the classical clarity of a Haydn, the musical language is nearer to that of
the late Romantic style.

The expressions 'modo classico' and 'modo antico' certainly do not correspond to any traditional
musical terminology. As has already been mentioned, these expressions that seem to indicate key, are an
attempt to infuse these new works with the values and ideals of classical and ancient music and thus to
formulate a cultural message. But the deeper meaning of these expressions goes much further, for Marx
never ceased, even in his late works, to express his deep admiration for the classical and ancient music
of Southern Europe, which seemed to remain for him eternally young. Thus it was that Joseph Marx
remained surprisingly progressive in this period too, for the way in which he fused the old and the new, in
order to create truly timeless art, is worthy of the highest admiration. The great cellist Pablo Casals
summed up Marx's contribution to Central European music with the following words: "Joseph Marx is
absolutely indispensable for the preservation of the music of the future".

Average customer rating: Wonderful Works.

Paul Hindemith: Vocal Chamber Music - Christiane Oelze / Cornelia Kallisch / Ensemble Villa Musica Thomas Brandis , Ingo Goritzki , Jean-Claude Gerard , Rainer Moog , Cornelia Kallisch , Hanno Simons , Gunther Teuffel , Ulf Rodenhauser , and Ensemble Villa Musica Manufacturer: MD&G Records ProductGroup: Music Binding: Audio CD All Works by Hindemith | Hindemith, Paul | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Hindemith: Complete String Quartets Paul Hindemith: Complete Orchestral Works [Box Set] Hindemith: Sonata for horn; Sonata for harp Hindemith: Compelete Sonata, Vol.5 Paul Hindemith: Complete Sonatas for Solo Instrument and Piano, Vol.1 - Ensemble Villa Musica ASIN: B0000021ET Release Date: 1995-10-17

Tracks:

1. Melancholie Op.13: Die Primeln Bluhn And Grussen - Christiane Oelze
2. Melancholie Op.13: Nebelweben - Christiane Oelze
3. Melancholie Op.13: Dunkler Tropfe - Christiane Oelze
4. Melancholie Op.13: Traumwald - Christiane Oelze
5. Wie Es War, Wenn's Anders War' - Christiane Oelze
6. Des Todes Tod Op.23a: Gesicht Von Tod Und Elend - Cornelia Kallisch
7. Des Todes Tod Op.23a: Gottes Tod - Cornelia Kallisch
8. Des Todes Tod Op.23a: Des Todes Tod - Cornelia Kallisch
9. Die Junge Magd Op.23b: No.1 'Oft Am Brunnen...' - Cornelia Kallisch
10. Die Junge Magd Op.23b: No.2 'Stille Schafft Sie In Der Kammer' - Cornelia Kallisch
11. Die Junge Magd Op.23b: No.3 'Nachtens Ubern Kahlen Anger' - Cornelia Kallisch
12. Die Junge Magd Op.23b: No.4 'In Der Schmiede Drohnt Der Hammer' - Cornelia Kallisch
13. Die Junge Magd Op.23b: No.5 'Schmachtig Hingestreckt Im Bette' - Cornelia Kallisch
14. Die Junge Magd Op.23b: No.6 'Abends Schweben Blutige Linnen' - Cornelia Kallisch
15. Die Serenaden Op.35: I. Barcarole - Christiane Oelze
16. Die Serenaden Op.35: An Phyllis: 1. Toccata/2. Corrente - Christiane Oelze
17. Die Serenaden Op.35: Nur Mut - Christiane Oelze
18. Die Serenaden Op.35: II. Duett - Christiane Oelze
19. Die Serenaden Op.35: Der Abend - Christiane Oelze
20. Die Serenaden Op.35: Der Wurm Am Meer - Christiane Oelze
21. Die Serenaden Op.35: III. Trio - Christiane Oelze
22. Die Serenaden Op.35: Gute Nacht - Christiane Oelze

Customer Reviews:

Wonderful Works. .......2005-01-25

This Cd is really a preciosity . Normally we hear the orchestral compositions of Hindemith, in Particular those with a strong Neo Classical accent. In this CD what we have is a complete different thing: now we can found one avant garde composer, with a special taste in choosing texts. The highlights of this record: The Two Song Cycles opus 23 ( a and b) . The First is a Cycle for voice, 2 violas and 2 violoncellos. The Mezzo, and these low instruments are perfect do describe in music " The deaths' death" , and it is very interesting to compare the use Hindemith did of Georg Trakl's wonderful texts in his Cycle " The young maid" with the songs opus 14 by Anton Webern . Both are very expressionists, both have a deep understanding of this wonderful poet, but the means they use is diametrical opposed. Other work very interesting is Melancholie for Soprano and String Quartet. The harmony very different , new and also with something of expressionist .
Not only the repertoire is very interesting in this CD. The performers are fantastic. Christiane Oelze recorded for Deutsche Grammophon all the music Webern wrote for Soprano . We can say she is one specialist in this kind of music. The Mezzo Cornelia Kallisch is also a fantastic singer and the musicians of this ensemble are among the bests in the world : Ingo Goritzky, Thomas Brandis, Enrique Santiago, etc.
If you want to know a more avant garde side of Hindemith this IS the CD. The works here reunited weren't written to be popular. These works are testimony of a refined musician that after 1930 became more and more conservative. Here, in works written between 1917 and 1924, he was at the peak of his creativity.

Average customer rating:

Sibelius: Violinkonzert Serenaden Humoreske Annie-Sophie Mutter/Staatskapelle Dresden/Andre Previn Manufacturer: Deutsche Grammaphon/BMG ProductGroup: Music Binding: Audio CD ASIN: B0007ZGTYE

Product Description

Tracks 1 - 3 are Concerto for Violin and Orchestra in D minor, . Track 4 is Serenade no. 1 in D major, Op. 69a. Track 5 is Serenade no. 2 in G minor, Op.69b. Track 6 is Humoresque no. 1 in D minor, Op. 87, no. 1.

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Serenaden Manufacturer: Capriccio ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Chausson, Ernest | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Elgar | Elgar, Sir Edward | ( E ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolf | Wolf, Hugo | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Divertimentos | Serenades & Divertimentos | Forms & Genres | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music ASIN: B000001WRV Release Date: 1994-07-12

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Serenaden Und Traeumereie Peter Pfundtner Manufacturer: Plygr ProductGroup: Music Binding: Audio CD ASIN: B00000B4VJ Release Date: 1997-04-21

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Die schönsten Serenaden, Vol. 1 Manufacturer: Arte Nova Records ProductGroup: Music Binding: Audio CD All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Divertimentos | Serenades & Divertimentos | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Concertos | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Concertos | Classical | Today's Deals in Music | Formats | Music ASIN: B000005IDY Release Date: 1998-01-01

Tracks:

1. Ser in D, KV 203 'Colloredo Ser': Andante Maestoso-Allegro Assai - Ovidiu Rusu
2. Ser in D, KV 203 'Colloredo Ser': Andante - Ovidiu Rusu
3. Ser in D, KV 203 'Colloredo Ser': Menuett-Trio-Menuett - Ovidiu Rusu
4. Ser in D, KV 203 'Colloredo Ser': Allegro - Ovidiu Rusu
5. Ser in D, KV 203 'Colloredo Ser': Menuett-Trio-Menuett - Ovidiu Rusu
6. Ser in D, KV 203 'Colloredo Ser': Andante - Ovidiu Rusu
7. Ser in D, KV 203 'Colloredo Ser': Menuett-Trio-Menuett - Ovidiu Rusu
8. Ser in D, KV 203 'Colloredo Ser': Prestissimo - Ovidiu Rusu
9. Ser No.2 in A, Op.16: Allegro Moderato - Orch Sinf Di Milano 'Giuseppe Verdi'/Alun Francis
10. Ser No.2 in A, Op.16: Scherzo. Vivace - Orch Sinf Di Milano 'Giuseppe Verdi'/Alun Francis
11. Ser No.2 in A, Op.16: Adagio Non Troppo - Orch Sinf Di Milano 'Giuseppe Verdi'/Alun Francis
12. Ser No.2 in A, Op.16: Quasi Menuetto - Orch Sinf Di Milano 'Giuseppe Verdi'/Alun Francis
13. Ser No.2 in A, Op.16: Rondo. Allegro - Orch Sinf Di Milano 'Giuseppe Verdi'/Alun Francis

Tracks:

1. Ser in C, Op.48: Andante Non Troppo - St. Petersburg Soloists/Michail Gantvarg
2. Ser in C, Op.48: Moderato. Tempo Di Valse - St. Petersburg Soloists/Michail Gantvarg
3. Ser in C, Op.48: Larghetto Elegiaco - St. Petersburg Soloists/Michail Gantvarg
4. Ser in C, Op.48: Finale. Andante-Allegro Con Spirito - St. Petersburg Soloists/Michail Gantvarg
5. Ser Melancholique, Op.26 - Rouben Aharonian/Irina Kandinskaja
6. Ser KV 320 'Posthorn': Adagio Maestoso-Allegro Con Spirito - Europa Sym/Wolfgang Grohs
7. Ser KV 320 'Posthorn': Menuetto 1 (Allegretto)-Trio-Menuetto - Europa Sym/Wolfgang Grohs
8. Ser KV 320 'Posthorn': Con (Andante Grazioso) - Europa Sym/Wolfgang Grohs
9. Ser KV 320 'Posthorn': Rondo (Allegro Ma Non Troppo) - Europa Sym/Wolfgang Grohs
10. Ser KV 320 'Posthorn': Andantino - Europa Sym/Wolfgang Grohs
11. Ser KV 320 'Posthorn': Menuetto 2-Trio 1-Menuetto-Trio 2-Menuetto - Europa Sym/Wolfgang Grohs
12. Ser KV 320 'Posthorn': Finale. Presto - Europa Sym/Wolfgang Grohs

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Serenaden Manufacturer: Orfeo ProductGroup: Music Binding: Audio CD Duets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Giuliani, Mauro | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music ASIN: B00008GQAM Release Date: 2003-02-25

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Serenaden der Romantik (Serenades for Strings) Manufacturer: Novalis ProductGroup: Music Binding: Audio CD Product Features: Josef Suk; Serenade es dur op. 6. Edward Elgar; Serenade e moll op. 20. Robert Fuchs; Serenade e moll op. 21 Nr. 3. Camerata Bern, Conductor. ASIN: B000GIOCDW

Product Description

1-4. Suk: Serenade in E flat major for Strings, op. 6~~~5-7. Elgar: Serenade in e-minor for Strings, op. 20~~~8-11. Fuchs: Serenade in e-minor for Strings, op. 21.

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Paul Hindemith: Die Serenaden, Op. 35; Heckelphone Trio Manufacturer: Cpo Records ProductGroup: Music Binding: Audio CD All Works by Hindemith | Hindemith, Paul | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music English Horn | Reeds & Winds | Instruments | Classical | Styles | Music Oboe | Reeds & Winds | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music ASIN: B000001RZU Release Date: 1996-03-19

Tracks:

1. Die Ser Op.35: Barcarole - Ruth Ziesak/Lajos Lencses/Gunter Teuffel/Angsgar Schneider
2. Die Ser Op.35: An Phyllis-Toccata-Corrente - Ruth Ziesak/Lajos Lencses/Gunter Teuffel/Angsgar Schneider
3. Die Ser Op.35: Nur Mut - Ruth Ziesak/Lajos Lencses/Gunter Teuffel/Angsgar Schneider
4. Die Ser Op.35: Duett - Ruth Ziesak/Lajos Lencses/Gunter Teuffel/Angsgar Schneider
5. Die Ser Op.35: Der Abend - Ruth Ziesak/Lajos Lencses/Gunter Teuffel/Angsgar Schneider
6. Die Ser Op.35: Der Wurm Am Meer - Ruth Ziesak/Lajos Lencses/Gunter Teuffel/Angsgar Schneider
7. Die Ser Op.35: Trio - Ruth Ziesak/Lajos Lencses/Gunter Teuffel/Angsgar Schneider
8. Die Ser Op.35: Gute Nacht - Ruth Ziesak/Lajos Lencses/Gunter Teuffel/Angsgar Schneider
9. Son: Langsam - Lajos Lencses/Shoshana Rudiakov
10. Son: Allegro Pesante - Lajos Lencses/Shoshana Rudiakov
11. Son: Moderato - Lajos Lencses/Shoshana Rudiakov
12. Son: Scherzo - Lajos Lencses/Shoshana Rudiakov
13. Son: Moderato - Lajos Lencses/Shoshana Rudiakov
14. Son: Allegro Pesante - Lajos Lencses/Shoshana Rudiakov
15. Son: Munter - Lajos Lencses/Shoshana Rudiakov
16. Son: Sehr Langsam-Lebhaft - Lajos Lencses/Shoshana Rudiakov
17. Trio, Op.47: Solo-Arioso-Duett - Lajos Lencses/Gunter Teuffel/Shoshana Rudiakov
18. Trio, Op.47: Schnelle Halbe-Lebhaft-Schnelle Halbe-Prestissimo - Lajos Lencses/Gunter Teuffel/Shoshana Rudiakov

Amazon.com

What the heck is a Heckelphone? As you might guess from hearing that it's played by an oboist, it's a double-reed instrument pitched lower than an oboe and higher than a bassoon, invented at the turn of the century. It never became popular, and aside from this Hindemith Trio you'll probably never hear another one. This Hindemith miscellany includes a rather obscure vocal cantata, extremely well sung by Ruth Ziesak. The instrumental works are all very well played, too, with Lajos Lencsés providing strong rhythmic impetus to everything he plays in. There isn't quite an hour of music on the disc, but since the music is hardly overexposed it's certainly a reasonable buy for Hindemith admirers. --Leslie Gerber

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