Sir Thomas Beecham

On this CD:

1. Symphony No. 4 in A major ("Italian"), Op. 90
Composed by Felix Mendelssohn
Performed by New York Philharmonic
Conducted by Sir Thomas Beecham

2. Capriccio Italien, for orchestra (or piano duet), Op. 45
Composed by Pyotr Il'yich Tchaikovsky
Performed by New York Philharmonic
Conducted by Sir Thomas Beecham

3. Symphony No. 7, for orchestra in C major, Op. 105
Composed by Jean Sibelius
Performed by New York Philharmonic
Conducted by Sir Thomas Beecham

4. Pelléas et Mélisande, incidental music for orchestra, Op. 46 Act I, Scene II: Melisande
Composed by Jean Sibelius
Performed by New York Philharmonic
Conducted by Sir Thomas Beecham

5. Die Lustigen Weiber von Windsor, opera Overture
Composed by Otto Nicolai
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

6. La Gioconda, opera in 4 acts Dance of the Hours
Composed by Amilcare Ponchielli
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

7. Carmen Suites for orchestra, Nos. 1 & 2 (assembled by Ernest Guirard) Act I: Prelude
Composed by Georges Bizet
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

8. Carmen Suites for orchestra, Nos. 1 & 2 (assembled by Ernest Guirard) Entr'acte "Aragonaise"
Composed by Georges Bizet
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

9. Carmen Suites for orchestra, Nos. 1 & 2 (assembled by Ernest Guirard) Entr'acte "Les Dragons d'Alcala"
Composed by Georges Bizet
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

10. Carmen Suites for orchestra, Nos. 1 & 2 (assembled by Ernest Guirard) Act I: Prelude
Composed by Georges Bizet
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

11. Carmen Suites for orchestra, Nos. 1 & 2 (assembled by Ernest Guirard) Entr'acte "Intermezzo"
Composed by Georges Bizet
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

12. Carmen Suites for orchestra, Nos. 1 & 2 (assembled by Ernest Guirard) Act I: la Garde Montante
Composed by Georges Bizet
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

13. Carmen Suites for orchestra, Nos. 1 & 2 (assembled by Ernest Guirard) Act II: Danse boheme
Composed by Georges Bizet
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

14. Capriccio Italien, for orchestra (or piano duet), Op. 45
Composed by Pyotr Il'yich Tchaikovsky
Performed by Columbia Symphony Orchestra
Conducted by Sir Thomas Beecham

15. Overture to Semiramide
Composed by Gioachino Rossini
Performed by Philadelphia Orchestra
Conducted by Sir Thomas Beecham

Editorial Reviews
Amazon.com
Sir Thomas Beecham spent much of the war in the U.S., and returned often. Sony's gathered some of his American recordings into this well-transferred Masterworks Heritage set. The two big works with the 1942 New Yorkers, the Mendelssohn Fourth and Sibelius Seventh, are OK, the Mendelssohn sprightly and bustling with wit, the Sibelius more matter-of-fact. But neither represents Beecham at his best; in fact, he sued Columbia to block their release and lost. They're still of interest and worth reissuing, but the real gems are the later recordings of lighter pieces with the Philadelphia Orchestra and the "Columbia Symphony," which Beecham, as always, made his own. The Carmen Suites have an irresistible swagger, Tchaikovsky's Capriccio Italien, enormous atmosphere, and the overtures, bounce and dash. Dan Davis

Amazon.com
The critic who said that Beecham was at his best with second-rate music may have been right. But how delicious that best could be! Here are performances of Tchaikovsky's Capriccio Italien and Bizet's Carmen Suites that accomplish the amazing feat of making the music sound fresh, new, and exciting. You'll never hear a more delicious version of Ponchielli's Dance of the Hours than this, and Mendelssohn's Symphony No. 4 (the only recording with less than first-rate mono sound) is also as... read more

Sir Thomas Beecham

Tracks:

Les Peurs des perles Act 1 - Au fond du temple saint
Madama Butterfly Act 1- Vogliatemi bene, un bene piccolino
Le Nozze di Figaro Act III - Sull'aria - Le Nozze di Figaro
La Traviata Act I - Un di, felice, eterea
Lucia Di Lammermoor Act I - Ah! Verranna a te sull'aure
Tristan und Isolde Act II - O sink hernieder, Nacht der Liebe
Carmen Act I - Parle-moi de m
Die ZauberflAct I - Bei Mern, welche Liebe F
Lakmct I - Viens, Mallika
Rigoletto Act I - il sol dell'anima
Der Rosenkavalier Act II - Mir ist die Ehre wilderfahren
Don Giovanni Act I - Li darem la mano
La Boh Act IV - O Mimi, tu pi torni
Il Trovatore Act IV - Miserere...Quel suon, quelle preci

Amazon.com

This is a misnomer--not all of these duets are all that famous--but it's a fine compilation nonetheless. You'll hear selections from Bizet's The Pearl Fishers (Nicolai Gedda and Ernest Blanc at their most elegant French), Madama Butterfly (Carlo Bergonzi and Renata Scotto--an impassioned pair), Lucia di Lammermoor (a classy Alfredo Kraus and Edita Gruberova), the lovely Lakme duet, The Presentation of the Silver Rose from Der Rosenkavalier (with the earnest Christa Ludwig and the other-worldly Teresa Stich-Randall), and a fine Trovatore "Miserere" (with Leontyne Price and Franco Bonisolli singing up a storm). There are many others, too--a veritable cornucopia of couplings--and a treat for the opera lover. --Robert Levine

Customer Reviews:

Can't go wrong.......2007-07-14

This is a really great CD for the price. It has many of the famous Arias on it and although the singers may not be the best out there they are certainly very good. This is cheaper than the price of a take away lunch; you can't go wrong with this CD.

Most Famous???.......2007-05-14

The title of this cd is misleading and I found myself wondering whose list did they use. That is not to say that there aren't some real treasures included here. The duet from Lakme is lovely in every way, Mady Mesple in particular, very beautful and very french, and far superior to Sutherlands hooty approach. Scotto and Bergonzi are superb, the Tristan and Isolde of Vickers and Dernesch truly other worldly, and the presentation of the rose duet with the young Ludwig and the astonishing Teresa Stich- Randell had me playing it over and over and I still can't believe it, but the most famous??? This cd is definitly worth buying, and I hated giving it only 3 stars but if you're talking most famous you could fill a couple of cd's with Puccini, not to mention Verdi, Mozart, etc. before Bizet's Les Pecheurs des perles, beautiful as it is, made the most famous list.

Only one song knew well.......2007-05-14

I should have done more research. The last song is the only one I could easily recognize. Live and learn.

The Most Famous Opera Duets.......2007-01-05

This seller truly makes a purchaser confident in the product as well the time in which is promised.

Thanks again!!!!!

Good selection of opera highlights.......2006-11-04

Super performances by famous opera artists of the 20th century, most of them no longer performing and some of them deceased. I enjoy having their voices available at home.

Bizet: Carmen / de Los Angeles, Gedda, Micheau, E. Blanc; Beecham

Average customer rating:

Great is great no matter how old it is
A Great Recording at a Great Price
Nonpareil
L'intégrale de référence
Strange, a lovable kitten of a Carmen...but it works

Bizet: Carmen / de Los Angeles, Gedda, Micheau, E. Blanc; Beecham
Georges Bizet , Sir Thomas Beecham , Victoria de los Angeles , Nicolai Gedda , Choeur & Orchestre National de la Radiodiffusion Française , Janine Micheau , Ernest Blanc , Jean-Christophe Benoît , Michel Hamel , Xavier Depraz , and Marcelle Croisier
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004VVZC
Release Date: 2000-08-15

Tracks:

Carmen: Prelude (Orchestre)
Carmen: Sur la place (Choeur - Morales - Micaela)
Carmen: Avec la garde montante (Choeur d'enfants - Morales - Jose)
Carmen: C'est bien la, n'est-ce pas (Zuniga - Jose)
Carmen: La cloche a sonne... Dans l'air, nous suivons des yeux la fumee (Choeur)
Carmen: Quand je vous aimerai? L'amour est un oiseau rebelle (Carmen - Choeur)
Carmen: Camen! sur tes pas, nous nous pressions tous! (Choeur - Carmen - Jose)
Carmen: Quels regards ! Quelle effronterie !
Carmen: Parle-moi do ma mere !
Carmen: Reste la, maintenant, pendant que je lirai (Jose - Micaela)
Carmen: Au secours ! Au secours ! (Choeur - Zuniga)
Carmen: Mon officier, c'etait une querelle (Jose - Zuniga - Carmen - Choeur)
Carmen: Pres des remparts de Seville (Carmen - Jose)
Carmen: Voici l'ordre ; partez (Zuniga - Carmen)

Tracks:

Carmen: Entr'acte
Carmen: Les tringles des sistres tintaient
Carmen: Messieurs, Pastia me dit
Carmen: Vivat ! vivat le Torero !
Carmen: Votre toast, je peux vous le rendre
Carmen: La belle, un mot
Carmen: Eh bien ! vite, quelles nouvelles ?
Carmen: Mais qui donc attends-tu ?
Carmen: Haite la !
Carmen: Enfin, c'est toi !
Carmen: Tout doux, Monsieur, tout doux
Carmen: La fleur que tu m'avais jetee
Carmen: Non, tu ne m'aimes pas... La-bas, la-bas, dans la montagne
Carmen: Hola Carmen ! Hola ! Hola !

Tracks:

Carmen: Entr'acte
Carmen: Ecoute, ecoute, compagnon, ecoute
Carmen: Reposons-nous une heure ici, mes camarades
Carmen: Melons ! Coupons !
Carmen: Eh bien ?
Carmen: Quant au douanier, c'est notre affaire
Carmen: C'est des contrebandiers le refuge ordinaire Je dis, que rien ne m'epouvante
Carmen: Je ne me trompe pas... c'est lui sur ce rocher
Carmen: Quelques lignes plus bas
Carmen: Hola, hola ! Jose !
Carmen: Entr'acte
Carmen: A deux cuartos ! A duex cuartos !
Carmen: Les voici ! voici la quadrille !
Carmen: C'est toi !... Camen, il est temps encore
Carmen: Viva ! viva ! la course est belle !

Amazon.com

As remastered for EMI's Great Recordings of the Century series, this classic 1959 Carmen sounds marginally better than its previous silver disc incarnation. Tape hiss is reduced, but without any compromise in residual overtones. A/B comparisons also tipped the scales in favor of the present reissue for newfound clarity and character among the lower-pitched instruments and the choral forces. Like many conductors of his generation, Beecham viewed Carmen as grand opera, instead of opera comique, and opted for the once-ubiquitous, now-discredited Guirard recitatives. But the great conductor's ebullient pacing and light-handed orchestral balancing galvanizes his splendid cast to idiomatic heights. Victoria de los Angeles gets under the skin of the complex title role as few mezzos have--so much so that it is easy to take for granted her alluring timbre and meticulous musicianship. Nicolai Gedda's ardent and alive Don José is vocally fresher but a tad less insightful than his 1964 remake partnering Callas. Well sung but less individually portrayed are Ernst Blanc's Escamillo and Janine Michaeau's Micaela. Carmen sets of more recent vintage offer more authentic presentations of Bizet's text, to be sure. Yet Beecham's theatrical flair still burns brightly and will enrich Carmen lovers who have yet to experience this delightful, ageless recording. --Jed Distler

Customer Reviews:

Great is great no matter how old it is.......2007-07-21

Bizet and Beecham.
Wouldn't it be great to have a drink with these guys?
A fantastic performance well preserved for future generations.
Seven stars !!!
Victoria de los Angeles leads
an intuitive Beecham interpretation
which was lovingly
transferred and remastered at
EMI London from the 1959 or 1960 master tapes.
BRAVO EVERYBODY. This is how it's done.
Mike Brydalski Buffalo New York
Remember Lana Clarkson,Syd Barrett, and John Barrett

A Great Recording at a Great Price.......2007-07-14

There is not much that can be said about this recording. It is the quintessence of Carmen in every way shape and form. Beecham's directing gives astonishing life to one of the most beloved operas. Ms. de Los Angeles provides the perfect blend of sultriness and vocal control need for Carmen. A must have recording for any opera fan, 5 stars are not enough!

Nonpareil.......2007-02-20

The jacket blurb is correct. This truly does "wipe the floor" with any other Carmen recorded to date. My sister introduced me to classical music with this L.P. in 1959. I wore the record out. My brother recorded a casette from a public radio broadcast in 1977 for me and it broke my heart when the casette wore out. Imagine my joy to see this fine music republished, in perfect digital reproduction no less. You are in for a rare treat. Everything in this recording has come together; it is a classic of a classic.

L'intégrale de référence.......2006-12-14

Cette version enregistrée en 1959 est une peut-être la meilleure intégrale. Victoria de los Ángeles est une des rares à être expressive sans faire de Carmen une mégère. Timbre et interprétation sont des références. Cette modération et cet équilibre se retrouvent chez presque tous à commencer par Beecham le chef d'orchestre qui rend parfaitement justice à cette fantastique partition qu'est «Carmen». Nicolaï Gedda est le partenaire vocal idéal de Victoria de los Ángeles. Quant à Ernest Blanc en Escamillo, il mérite comme d'habitude tous les superlatifs. Il faut bien sûr un bémol et il s'agit ici de la Micaëla de Janine Micheau, au mieux sans intérêt, au pire irritante, comme d'habitude. Il est étonnant en tout cas de voir qu'une des meilleures Carmen était une Espagnole, alors que cette Espagne d'opérette n'existant qu'en France ne pouvait que lui être étrangère. Par contre que cette Esapgnole ait été une spécialiste du répertoire français n'était bien sûr pas un hasard pour l'intelligence du rôle et de la musique. C'est cependant avec nostalgie que l'on écoute maintenant les duos entre Nicolaï Gedda et Victoria de los Ángeles, témoins d'une certaine école de chant, actuellement bien révolue.

Strange, a lovable kitten of a Carmen...but it works.......2005-09-24

Beecham wanted a very idiomatic French produciton of Carmen, and he achieved it on all ocunts--except for Carmen herself, who is a lovable kitten rather than a fiery temptress. And except for Don Jose, who is a Swedish operetta singer just gaining the heft to move into grand opera. The two leads don't fit into the overall Gallic spirit of hte recording, and at times I listen around them.

But no one has ever conducted a fresher, more buoyant Carmen, and since Beecham didn't have a tragic bone in his body, it makes sense that he would favor a charming soprano for his leading lady. She gives no trouble and she sings like an angel.

Bizet: Symphony in C; L'Arlésienne Suites

Average customer rating:

Beautiful performances
Beecham is old-fashoined and loving in this Bizet collection
An artistic triumph for the eternity!
Performances to treasure for all time.

Bizet: Symphony in C; L'Arlésienne Suites

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004R8TK
Release Date: 2000-03-14

Tracks:

I. Allegro Vivo - Sir Thomas Beecham
II. Adagio - Sir Thomas Beecham
III. Allegro Vivace And Trio - Sir Thomas Beecham
IV. Allegro Vivace - Sir Thomas Beecham
I. Prelude - Royal Philharmonic Orchestra
II. Menuet - Royal Philharmonic Orchestra
III. Adagietto - Royal Philharmonic Orchestra
IV. Carillon - Royal Philharmonic Orchestra
I. Pastoral - Sir Thomas Beecham
II. Intermezzo - Sir Thomas Beecham
III. Menuet (from 'La Jolie Fille De Perth') - Sir Thomas Beecham
IV. Farandole - Sir Thomas Beecham

Customer Reviews:

Beautiful performances.......2006-08-25

Wonderful playing of two thoroughly fun and joyous works. Beecham truly had a special way with Bizet.

Beecham is old-fashoined and loving in this Bizet collection.......2006-07-13

British record collectors accept as gospel that this hisotrical colleciton of Bizet's popular Symphony in C and L'Arlesienne Suites is one for the ages. I love Beecham, but his conducting here tends to be loving at the expense of vibrancy and scintillating playing. In fact, the French radio orchestra, though blessed with a delicious Gallic sound, is not an ensemble of great players. EMI's sound is detailed but noticeably thin and edgy at loud volume.

Most music lovers already own favorite versions of the Symphony in C. I swear by the thrilling version from Bernstein and the NY Phil. on Sony. But if you want a relaxed, affectionate reading, Beecham's is certainly favored by many.

An artistic triumph for the eternity!.......2004-12-05

Do you really know any other recording that can match with this performance ?
The Symphony in C is a gift for your ears . It is not a deep work but who cares?.
The elegant style and supreme elegance directorial in Beecham makes you to forget the search for the expression, the color and exact intention of the composer .
The Suites ae exquisite though Paul Paray is a serious matcher with the Detroit Symphony .
Beecham was a conductor much better than the great majority of the people think . Another triumphs from his glorious batoon were The Jupiter Symphony ; Sibelius fourth , Delius symphonic works and Liszt Fausto among the most remarkables .

Performances to treasure for all time........2001-06-24

When Beecham came to Australia, one cartoonist depicted him as conducting with a magic wand. Listen to him conducting these colourful Bizet orchestral items and you'll know why. In the "L'Arlesienne" suites, the melodic lines, especially for woodwinds, are beautifully phrased, there is amazing gusto in the Farandole, and the string playing in the Adagietto is like gossamer. The Bizet symphony was recorded in Paris during Beecham's last series of recording sessions. The 80 year old conductor works his magic here too, identifying and eliciting all the freshness of the 17 year old composer's symphony. These are performances to treasure for all time.

Grieg: Peer Gynt Op23; Symphonic Dances Op64

Average customer rating:

THE Peer Gynt
Terrific, authoritative Grieg collection from Beecham
A CLASS ACT
One of the best of the series
Well deserves its rosette award.

Grieg: Peer Gynt Op23; Symphonic Dances Op64

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00000GCAB
Release Date: 1999-01-12

Tracks:

'Peer Gynt' - Incidental Music: Wedding March
'Peer Gynt' - Incidental Music: Ingrid's Lament
'Peer Gynt' - Incidental Music: In The Hall Of The Mountain King
'Peer Gynt' - Incidental Music: Morning
'Peer Gynt' - Incidental Music: Ase's Death
'Peer Gynt' - Incidental Music: Arabian Dance
'Peer Gynt' - Incidental Music: Solveig's Song
'Peer Gynt' - Incidental Music: Anitra's Dance
'Peer Gynt' - Incidental Music: Return of Peer Gynt - Storm Scene
'Peer Gynt' - Incidental Music: Solveig's Lullaby
Symphonic Dance, Op.64 No.2
Concert Overture 'In Autumn', Op.11
An Old Norwegian Folksong With Variations, Op.51

Customer Reviews:

THE Peer Gynt.......2007-07-12

Sir Thomas Beecham was one of the giants in the "Golden Age of Conductors". In this famous recording he proves why. This familiar music has been recorded by numerous artists over the years but none has ever caught the real drama of the music like Beecham. The fact that this recording has never been out of print since it was first issued is a testament to its worthiness. If you do not now own the piece, buy this one. Even if you do own someone else's version, buy this one. You will not be disappointed. The only quibble which I have and which has been voiced by others, is the fact that the vocal parts are sung in German and not Norwegian. This is not a fatal defect in my opinion. Grieg himself and, for that matter, most Norwegians of his era were equally fluent in German. It is the music which is important and you will not find a better rendition of Peer Gynt than this one.

As an added bonus, there are some other delightful Grieg masterworks to savor.

Terrific, authoritative Grieg collection from Beecham.......2004-10-08

Okay, I'll admit that I am not as familiar with Sir Thomas Beecham's conducting as I am with, say, Herbert von Karajan's or Leonard Bernstein's. I've heard a few stories about his wise-old-man demeanor on the podium, but of his actual recordings I have heard only a handful. This is the only disc of his that I personally own, but it is a beauty. The booklet notes talk about Beecham's dedication to Grieg's music, especially his lesser-known works; that dedication is apparent in all of these performances. Of all recordings of selections from Grieg's complete incidental music for Ibsen's PEER GYNT, Beecham's would probably rank near the top, if not all the way at the top. The highlight of the performance, for me, is "Ase's Death", which I've never heard done as solemnly and beautifully (or as slowly) as it is here by the Royal Philharmonic Orchestra strings under Beecham's direction. The rest is just as vividly characterized (wonderful "Morning", especially), with Ilse Hollweg making for a touching Solveig in "Solveig's Song" and "Solveig's Lullaby".

As for the fill-ups: Grieg's "Symphonic Dance No. 2" may not be a very substantial work, but Beecham makes a good case for it, wonderfully sentimental in the outer sections and troubled in the middle section. The concert overture "In Autumn" is also a fun and dramatic work; and the "Old Norwegian Folksong with Variations" is full of life and color through its many variations, especially in its final ones. The recorded sound is rich, warm analogue that truly brings out the luster of these performances. All in all, these are some terrifically authoritative Grieg performances from a conductor who apparently loved these works and was able to translate that affection into performance. Highly recommended.

A CLASS ACT.......2004-02-20

Much as I dislike the word, it's simplest to use it - Beecham had class. I do not believe I can even think of anything he ever did badly, or anything that is lacking in grace and elegance. There is strength there too, and obviously a touch (or more than just a touch) of arrogance. He was no great enthusiast for Bach, Beethoven or Brahms, and it's hard not to suspect that this was at least partly because these gardens of the muses were particularly well-tended by so many others. He was impatient and easily exasperated by Bruckner and Vaughan Williams, and I have to confess so am I. That left a great deal for Beecham to outshine all others in, and here he is outshining them all in Grieg's Peer Gynt.

It does not seem to me that Grieg is even remotely equal to the theme of Ibsen's Peer Gynt, which I believe rivals the story of Faust itself in its contemplation of the issues of love, death and redemption. Grieg does not have the `size' for that. What he is able to do is embroider the theme with musical numbers that are by turns picturesque, sentimental and sometimes even deeply felt beyond mere sentiment. It is a kind of music that called up Beecham's special wizardry in particular. The opening wedding march has the familiar Beecham swagger, the trolls in the Hall of the Mountain King are almost worthy of Peter Jackson, the hackneyed Morning breaks like the first morning, and Ase's death strikes a deeper note. Here the composer actually does get somewhere close, in a simplified way, to the complex tenderness and pathos of the scene where Gynt eases the worn-out old woman out of this world. The orchestral tone Beecham obtains near the end, and the exquisite timing of the final chords, are things worth getting this disc for on their own. Ilse Hollweg as Solveig is quite outstanding in the famous Solveig's Song and in the final lullaby.

For its time the recorded quality is quite extraordinarily good. Beecham was particularly adept at obtaining good recordings, by what combination of personal magnetism and outright intimidation I don't know although it's probably easy to guess. There is a fine little selection of makeweights bringing the playing time of the set to an hour and a quarter.

One of the best of the series.......2001-10-16

These performances are so good they actually made me reconsider the music. Prior to hearing Beecham's recording the only Grieg that I found really enjoyable were his lyric pieces played by Emil Gilels - and frankly I wondered how much of that could be attributed to Gilels. Modern versions of his orchestral music always felt a little empty and, inevitably, failed to inspire repeated listenings. This recording is so alive, vibrant and emotionally communicative that it's now a firm and much listened to favourite. Also the sound quality is hard to believe - over forty years old and it sounds better than almost all modern orchestral recordings - lots of detail and a lifelike warm tone. The recent remastering process used by EMI seems to work its wonders best with these 50's and 60's analog recordings. Anyway, this is the sort of CD I'd like to buy as a present for a good friend - just fantastic music making.

Well deserves its rosette award........2001-01-12

Beecham's recording of Grieg's Peer Gynt incidental music has been one of his most frequently reissued items since its first 1957 release. Purists and fuss-budgets might cavil at the vocal items being sung in German and the omission of two of the twelve items from the complete score, but there are enough merits to make this preferable to all other versions. The inimitable swagger, the tenderness, the beauty of phrasing, and the finely judged balancing of orchestral textures that Beecham could achieve are everywhere to be heard. Other Grieg works conducted by Beecham, less well-known, have been added, to provide 76 minutes of listening. Digital remastering has enhanced and clarified the stereo originals. This is one of the few CDs to receive a rosette in the prestigious Penguin Guide To Compact Discs.

Sibelius/Glazunov/Tchaikovsky: Violin Concertos - Jascha Heifetz, Sir John Barbirolli, Sir Thomas Beecham, London Philharmonic Orchestra

Average customer rating:

Sibelius/Glazunov/Tchaikovsky: Violin Concertos - Jascha Heifetz, Sir John Barbirolli, Sir Thomas Beecham, London Philharmonic Orchestra

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000I2ISMW
Release Date: 2006-10-03

Tracks:

I: Allegro Moderato
II: Adagio Di Molto
III: Allegro Ma Non Tanto
I: Allegro Moderato
II: Canzonetta (Andante) -
III: Allegro Vivacissimo
Moderato -
Andante -
Cadenza -
Animando

Haydn: Symphonies #99-104; Sir Thomas Beecham; Royal Philharmonic

Average customer rating:

The conclusion of Beecham's delightful Haydn set
No Flaws Here...
Same flaw
Excellent, but also disappointing
One of the master interpreters of Haydn

Haydn: Symphonies #99-104; Sir Thomas Beecham; Royal Philharmonic
Franz Joseph Haydn , Sir Thomas Beecham , and Royal Philharmonic Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

$7.99 and Under | Classical Music Blowout | Stores | Music

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Haydn: Symphonies Nos. 93-98
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Schubert: Symphonies 5, 6, 8 & 9; Rosamunde Overture

ASIN: B0000CE7FQ
Release Date: 2004-06-01

Tracks:

I: Adagio - Vivace Assai
II: Adagio
III: Menuetto E Trio: Allegretto
IV: Finale: Vivace
I: Adagio - Allegro
II: Allegretto
III: Menuetto E Trio: Moderato
IV: Finale: Presto
I: Adagio - Allegro Con Spirito
II: Andante, Piu Tosto Allegretto
III: Menuetto E Trio
IV: Finale: Allegro Con Spirito

Tracks:

I: Adagio - Presto
II: Andante
III: Menuetto E Trio: Allegretto
IV: Finale: Vivace
I: Largo - Vivace
II: Adagio
III: Menuetto E Trio: Allegro
IV: Finale: Presto
I: Adagio - Allegro
II: Andante
III: Menuetto E Trio: Allegro
IV: Finale: Spiritoso

Customer Reviews:

The conclusion of Beecham's delightful Haydn set.......2006-09-16

These recordings of the last six London symphonies were recorded in 1957, but even after fifty years they gleam with freshness. Just as Beethoven is unthinkable without Furtwangler, Verdi without Toscanini, and Mahler without Bernstein, Haydn is fused with the name of Beecham. He was near the end when these stereo renditions were made, and at times the music isn't as vigorous or pointed as it could be, but the symphonies remain light, buoyant, and witty. He simply had the magic touch when it came to Haydn's music. As to sonics, they are good enough, but loud passages can shriek a bit, and the Royal Phil. is at times scrappy compared to the best orchestras of today. But their playing is never bored, routine, or slick.

At present this composer is neglected. Unlike Mozart, Haydn's poised classicism doesn't feel deep enough to modern ears; he's never tragic or even conflicted. His music is charmng, balanced, self-assured, and incredibly inventive. That should be enough, but I can think of a host of major conductors who have recorded barely a handful of Haydn symphonies (Walter, Furtwangler, Abbado, Fricsay, Klemperer, etc.) The true devotees include, besides Beecham, Bernstein and Karajan, with Szell adding his good share, about eight symphonies. Bernstein's set of the Paris symphonies stands on a plane with Beechaam's London symphonies. Together, they are must-listens in this delightful music.

No Flaws Here..........2005-10-25

The sound on this re-mastering of the Beecham recordings is excellent--much better than on the earlier release by EMI. Apparently the disc flaw in #104 that previous reviewers mentioned has been eliminated in later production runs.

No doubt about it, Sir Thomas Beecham brings out the grace and wit in the Haydn symphonies better than just about any conductor.

Same flaw.......2005-02-17

I would rate this at five stars if it were not for the remastering flaw on the final track of CD 2. In my opinion, these performances rate with Jochum's as the best available. Shame on EMI for letting the defective discs escape their notice. Apparently, all copies have the problem, since every review mentions it, and I have now exchanged the disc four times in search of a clean copy. Why can't EMI recall and reissue the set? I left a perfectly cordial message on the EMI website asking if they knew of the problem and if any unflawed copies were available. I got no response. Such contempt for their customers would drive many companies out of business.

Excellent, but also disappointing.......2005-01-04

I don't have much to add to what was said by the previous review, who is spot-on. At $12, these five (#99-103) of Haydn's London symphonies are one of the best combinations of quality and price available. I say FIVE symphonies, though, instead of SIX (there are supposedly SIX included here), because there IS a remastering error on the second disc. It's right where the first two reviews said it was -- on the last track, or during the final movement of Symphony 104. The first time I played the symphony, which was in my CD player, I began to hear a strange clicking noise right near the end of 104's last movement, at about 4:45, just when I thought I was out of the woods. After a few seconds of this, the CD did in fact begain to "hang something furious." When I played it on my computer, the hanging came even earlier -- after the 3-minute mark (as if it were eating its way to the center of the disc). I too checked the disc under a bright lamp, expecting to find a small claw mark on the underside, but it showed no damage. Therefore, the problem must lie with EMI. I'm not sure what happened, but I take it that most buyers will find the same problem that I did. I'm not throwing this set out (or even just the second disc) because of the wonderful performances of Symphonies 99-103, but it's disappointing not to get to hear Beecham bring 104 to its terrific close.

One of the master interpreters of Haydn.......2004-10-22

This is the second portion of EMI's recent re-release of Beecham's extremely fine set of Haydn London Symphonies. The first installment, Nos. 93-98, was originally recorded in excellent mono; these, 99-104, in stereo. (Incidentally, my Symphony 104 does not suffer from the same technical problem encountered by the preceding reviewers with their discs.) The well known and long appreciated Beecham traits are all here---fastidious but appealing detail, sprightly rhythms, charm, wit, grace and convincing dynamics. In comparison with Scherchen in his DG Original Masters six cd set, Beecham impresses as being perhaps a little more precise in articulation of details. His approach also seems a bit more refined, even aristocratic at times. However, all of this doesn't necessarily mean he is more convincing musically than Scherchen. Each in his own way ably presents Haydn as a composer of varied and fascinating character, and not just as "the father" but a master of the symphony. If I was asked to cite one perceived overall difference between the styles of both conductors, I would say that Beecham's might manifest the type of expression that could be considered somewhat more cerebral, while Scherchen's might emanate a little more from the heart. Soundwise, Scherchen's mono recordings tend to be warmer, while Beecham's sport more of the relatively lighter, open clarity of the stereo stage. In comparing both conductors' performances, I find it virtually impossible to conclude in favor of one over the other. Personally, I wouldn't be without the Scherchen set. But, Beecham's style is so captivating, and his set so easy to purchase, I'm all too happy to give it a home too.

Great Recordings Of The Century - Rimsky-Korsakov: Scheherazade; Borodin: Polovtsian Dances / Beecham, Royal Philharmonic Orchestra

Average customer rating:

Cadenza
A classic that survives because of Beecham's infectious good humor
Extraordinarily charismatic
Great performance, not-so-ideal recording technique.
Ablaze with Color

Great Recordings Of The Century - Rimsky-Korsakov: Scheherazade; Borodin: Polovtsian Dances / Beecham, Royal Philharmonic Orchestra
Sir Thomas Beecham
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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Rimsky-Korsakov: Scheherazade for orchestra Op35; Stravinsky: Song of the Nightingale

ASIN: B00000IOBM
Release Date: 1999-05-04

Tracks:

Scheherazade, Op.35: The Sea and Sinbad's Ship
Scheherazade, Op.35: The Story of the Kalender Prince
Scheherazade, Op.35: The Young Prince and the Young Princess
Steven Staryk: The Festival of Bagdad - The Sea - The Ship goes to pieces on a Rock surmounted by a Bronze Warrior
Polovtsian Dances ('Prince Igor', Act ll): Introduction: Andantino
Polovtsian Dances ('Prince Igor', Act ll): Allegro vivo
Polovtsian Dances ('Prince Igor', Act ll): Allegro
Polovtsian Dances ('Prince Igor', Act ll): Presto
Polovtsian Dances ('Prince Igor', Act ll): Moderato alla breve
Polovtsian Dances ('Prince Igor', Act ll): Presto
Polovtsian Dances ('Prince Igor', Act ll): Allegro con spirito

Customer Reviews:

Cadenza.......2007-04-30

Of all the recordings of Scheherazade by Rismsky-Korsakov, the one conducted by Sir Thomas Beecham is the performance that is most generous to his musicians. Each cadenza is given such exquisite freedom, the woodwinds particularly, that the solo musician can truly explore the glorious expression of Rimsky-Korsakov. Cadenzas in the Story of the Kalander Prince, the second movement, are so beautifully syncopated, patient here, passionate there, forceful there; so beautifully dynamic, quietly reliant on a single clear note or loud enough to where the instrument is abuzz with natural harmonics. And the final movement of the piece, Shipwreck, here Sir Thomas, more than any other conductor, lets the tapestry of music unravel until there is nothing left but this one last, long golden thread of solo violin.

A classic that survives because of Beecham's infectious good humor.......2006-07-13

Beecham conducted music with a smile, a rare gift that other conductors who possess better techniques and more virtuosic orchestras must envy. This 1958 Scheherazade remains a classic because it flows so naturally and unfolds with such good humor. In the U.S. many collectors automatically reach for Reiner's ultra-polished, stupendously played Living Stereo recording on RCA, whereas in the U.K. collectors just as automatically reach for Beecham.

By comparison, the Royal Phil. isn't a virtuoso ensemble, but their feeling for the music, their supple flexibility and relaxed phrasing outstrip Reiner's cool-sounding Chicago Sym. I love both recordings--and several by Stokowski, who is more flagrantly showing off--but if it came down to a desert-island choice, I think I'd go with the more humane, less spectacular Beecham. EMI's recorded sound is quite open and natural, also, showing its age only in a bit of snarl in the loudest tutties. Woodwinds ae deightfully prominent, strings are recessed.

Extraordinarily charismatic.......2004-09-03

This review is basically the same as the one I wrote for an earlier CD
reissue of this fine recording. Now that it has been rereleased as a
Great Recording of the Century, it will get the attention it deserves.

Beecham's recording of Scheherazade has not been out of print ever since
it was first released in 1958. It is quite simply the best recording of
Rimsky-Korsakov's finest work. The sound quality of the recording is
excellent for its time, and the engineers for the CD have done a good
job. The Royal Philharmonic Orchestra plays fabulously well, and
Beecham brings out all of the mystery, sensuality and barbarism that
used to be associated with the Orient. The notes that come with the
recording describe it best: "extraordinarily charismatic". It is not an
exaggeration. No one does the violin solos better than concertmaster
Steven Staryk, and Jack Brymer's clarinet solos are also brillant.

As a bonus, this CD also has the best recording of Borodin's Polovtsian
Dances I have ever heard. Unlike most recordings of these dances,
excerpted from "Prince Igor", it includes the choral voices just as they
are in the opera (in English, rather than Russian, though).

Great performance, not-so-ideal recording technique........2003-08-25

Sir Thomas Beecham's recording was my first Scheherazade CD. In many ways it remains an outstanding performance of Rimsky's beloved masterpiece. There is a pleasing suppleness to the musical phrasing, an irresistible propulsion from start to finish, and much attention to detail. Having had access to the CD section of a music library, I have hear many other Scheherazades and few, in my opinion, manage to even equal Beecham's reading. Mackerras' and Kondrashin's modern versions are its main rivals. Get all three of these if you can, each is indispensable in its own way.

With regards to the recording acoustics, there has been an on-going tendency of lovers of Beecham's disc to proclaim its superiority over Mackerras, Kondrashin's or any other modern digital version by citing Beecham's attention to detail. In actuality that has a lot to do with the primitive closely-miked recording techniques employed by 1950s EMI engineers. As a result you get to oooh-and-ahh when you hear the delicious close-up bowing of the cellos and violas in the quieter passages of the first movement. However, when the rest of the orchestra (especially the brass) start joining in, you then realize (horrors!) the congested acoustics of this recording. Be not mistaken, this is a finely-reburbished 1950s recording, but it cannot touch the naturally distanced/proportioned, spacious acoustics of digital discs like Mackerras'. Do not be fooled, like some professional critics have been, that the wealth of close-up instrumental details available in Beecham's CD means that his performance is superior to modern CDs. (This is how we get all of this perpetuated rubbish that ALL vintage 50s CDs can never be surpassed. Hmph.)

In summary, this vintage Scheherazade is one not to be without but ideally it should also not be the single version in your music collection. A finely recorded modern version of Scheherazade is also a must.

Ablaze with Color.......2002-11-02

Years and years ago I came across Beecham's wonderful recording of Rimsky-Korsakov's most famous piece while listening to NPR. The channel has since gone to talk format, but I still greatly enjoy this classic disc.

Scheherazade is given both space and atmosphere by Beecham and the RPO. The first time I heard it was while driving around on an autumn evening--the leaves the color of gold and flame. I cannot help but feel the same colorscape whenever I hear this piece now.

Tracks:

I: Adagio - Allegro Assai
II: Largo Cantabile
III: Menuetto E Trio: Allegro
IV: Finale: Presto Ma Non Troppo
I: Adagio Cantabile - Vivace Assai
II: Andante
III: Menuetto E Trio: Allegro Molto
IV: Finale: Allegro Di Molto
I: Allegro Moderato
II: Andante
III; Menuetto E Trio
IV: Finale: vivace

Tracks:

I: Adagio - Allegro
II: Andante
III: Menuetto E Trio
IV: Finale: Vivace
I: Adagio - Vivace
II: Adagio, Ma Non Troppo
III: Menuetto E Trio: Allegretto
IV: Finale: Presto Assai
I: Adagio - Allegro
II: Adagio Cantabile
III: Menuetto E Trio: Allegro
IV: Finale: Presto

Customer Reviews:

Haydn is unthinkable without Beecham.......2006-09-16

These recordings of the first six London symphonies were recorded in 1957, but even after fifty years they gleam with freshness. Just as Beethoven is unthinkable without Furtwangler, Verdi without Toscanini, and Mahler without Bernstein, Haydn is fused with the name of Beecham. He was near the end when these stereo renditions were made, and some have more vigor than others, but the symphonies remain light, buoyant, and witty. He simply had the magic touch when it came to Haydn's music. As to sonics, they are good enough, but loud passages can shriek a bit, and the Royal Phil. is at times scrappy compared to the best orchestras of today. But their playing is never bored, routine, or slick.

At present this composer is neglected. Unlike Mozart, Haydn's poised classicism doesn't feel deep enough to modern ears; he's never tragic or even conflicted. His music is charmng, balanced, self-assured, and incredibly inventive. That should be enough, but I can think of a host of major conductors who have recorded barely a handful of Haydn symphonies (Walter, Furtwangler, Abbado, Fricsay, Klemperer, etc.) The true devotees include, besides Beecham, Bernstein and Karajan, with Szell adding his good share, about eight symphonies. Bernstein's set of the Paris symphonies stands on a plane with Beechaam's London symphonies. Together, they are must-listens in this delightful music.

Average customer rating:

The Red Shoes

Manufacturer: Membran/Mousiki Akti
ProductGroup: Music
Binding: Audio CD

General | Soundtracks | Styles | Music

Soundtracks | Imports | Stores | Music
ASIN: B0001LYEC8
Release Date: 2004-03-09

Tracks:

Signature Tune
Main Title
"Heart of Fire" Ouverture
Julian Conducts a Rehearsing
On the Mercury Theatre
Practise, Practise
Irina Is Finished
Monte Carlo's Invitation
Vicky and Julian at the Party
Transformation
Vicky and Julian Discuses on Rehearshing
On the Monte Carlo Opera's Backstage
Red Shoes Ballet Premiere
Paris
Night Ride
Birthday Party
Lermontov Remembers the Vicky's Great Roles
Dance Music
Irina's Returns
Composer Sleepless Nights
Lermontov's Reflection
Struggle for Vicky
Vicky's Last Dance/End Title
Red Shoes Ballet [Extended Pre-Recording Version][*]

Album Description

Reissue of soundtrack with special plastic packaging & music by Brian Eansdale. Membran. 2004.

Average customer rating:

Delius Orchestral Works
Beecham's Autumnal Delius

Delius: Orchestral Works

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00005AVMK
Release Date: 2001-04-10

Tracks:

Brigg Fair - An English Rhap
Dance Rhap No.2
Two Pieces: I. On Hearing The First Cuckoo In Spring
Two Pieces: II. Summer Night On The River
A Song Before Sunrise
Intermezzo (Fennimore And Gerda)
Irmelin Prld
Sleighride
Summer Evening
Florida Ste: I. Daybreak - Dance

Customer Reviews:

Delius Orchestral Works.......2005-08-28

Lackluster performance. Poorly engineered, need to constantly adjust volume to listen to music.

Beecham's Autumnal Delius.......2002-03-31

With no composer was Sir Thomas Beecham more closely associated than with Frederick Delius: Beecham made his first 78RPM documentation of Delius in the middle 1920s just after the invention of the electrical process; he recorded Delius throughout the period of electrical stylus engraving, continued to do so in the "hi-fi" years of the monophonic long-playing record, and made what were probably the first stereo recordings of Delius in the late 1950s and early 1960s, for EMI. The EMI stereo recordings have rarely, if ever, been out of the catalogue. They appeared initially in the United States in the late 1960s on the Seraphim label, on two LPs. EMI reissued them as a two-CD boxed set in the middle 1980s, and the current, semi-budget edition compiles the best of the older two-CD anthology, reworking the balances just a bit, and making them available at a lower price than previously. The highlight of the program is the wonderful, autumnal performance of "Brigg Fair: An English Rhapsody," a work that Beecham committed to platters three times (in 1928, 1947, and, as here, in 1958). While the music of Delius does not absolutely demand stereo, it certainly benefits from it; the subtleties of orchestral color, the impression of depth so important to an evocation of landscape, the related representation of distance (as noted by Christopher Palmer in his study of the composer) - all of these become more vivid, and more vitally contribute to the living whole, in stereo. Let it be said that however accomplished conductors of later generations have been in their dedication to Delius, none has ever surpassed Beecham: the gentle rocking of the flute and harp in the opening bars of "Brigg Fair" sounds like the rolling countryside itself in warm pastels; the peroration in brass toward the end of the same work blazes for a moment before the music subsides back into its original quietness. The timing (15.51) is comparable with that of Beecham's pioneering 1928 performance (available on Naxos) and shows that the lambent atmosphere is not dependent on a retardation of the pace. The two "sketches," "On Hearing the First Cuckoo in Spring" and "Summer Night on the River," here receive their definitive recordings. (Only Barbirolli, also on EMI, comes close.) Beecham brings to life the two other miniatures, "A Song before Sunrise" and "Summer Evening," with the same deft magic; in the less characteristic "Dance Rhapsody No. 2" he knows how to mark the rhythms and does a more effective job than Eric Fenby did on a now deleted Unicorn CD. This is a splendid CD for those curious about Delius who might want an introduction to the autumnal realm. I can detect little difference in sound between this disc and its previous CD re-mastering for the boxed set. The original recordings represented the state of the art for their time and have always sounded as warm as Sir Thomas must have intended them to be.

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