Heilig Heilig Heilig Ist Gott

Editorial Reviews
Album Description
Telemann scholar and period instrument specialist Ulrich Stötzel continues his exploration of this great Baroque genius in this new recording. The festival music Heilig, heilig, heilig ist Gott (TVWV 2:6), is one of the sweeping compositions that Telemann composed between 1738 and 1762 for various ceremonies and festivities for the prosperous city of Hamburg.

Customer Reviews:

A Major Document of an Incredible Oeuvre..........2007-03-12

.
Of over 600 songs, Fischer-Dieskau and Gerald Moore realized over three-quarters: these are those. Gerald Moore was of course as important to this project as Fischer-Dieskau.

DGG's sound is excellent.

This set is a remarkable document of art.
.

Edition Wiener Staatsoper/Vienna State Opera Live, Vol. 4

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Edition Wiener Staatsoper/Vienna State Opera Live, Vol. 4

Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000001SUR
Release Date: 1994-06-28

Tracks:

Aida, Act 1: O ware ich erkoren-Holde Aida - Jussi Bjorling
Aida, Act 2: Also du bist?-Ihr Vater. Ich hab' gekampft - Jussi Bjorling/Maria Nemeth/Kersten Thorborg/Alexander Svied/Ludwig Hofmann/Vienna St Opr Chor
Aida, Act 3: Bald kommt Radames - Maria Nemeth
Aida, Act 3: Ich seh' dich wieder, meine Aida - Jussi Bjorling
Aida, Act 3: Du bist nicht schuldig - Alexander Sved/Maria Nemeth/Jussi Bjorling
Aida, Act 3: Eilet und fliehet - Jussi Bjorling/Maria Nemeth/Kersten Thorborg/Alexander Svied/Ludwig Hofmann
Don Carlo, Act 1: Die menschliche Begierde-'s ist seine Stimme - Todor Mazaroff/Piero Pierotic/Carl Bisutti
Don Carlo, Act 1: Gott, der entflammte der Liebe - Todor Mazaroff/Piero Pierotic/Vienna St Opr Chor
Don Carlo, Act 1: Ich kam, um zu erflehn eine Gunst - Todor Mazaroff/Maria Reining/Herbert Alsen
Don Carlo, Act 2: Elisabeth!-Du bist's du bist's - Todor Mazaroff/Piero Pierotic/Piroska Tutsek
Don Carlo, Act 4: Elisabeth!-Ich rief Euch hierher-Leb wohl auf ewig - Todor Mazaroff/Maria Reining/Piroska Tutsek/Carl Bisutti/Herbert Alsen/Vienna St Opr Chor
I Pagliacci, Act 1: Seid nochmals geladen - Jussi Bjorling/Vienna St Opr Chor
I Pagliacci, Act 1: Spielen jetzt?-Hull' dich in Tand nur - Jussi Bjorling
I Pagliacci, Act 2: Nein, bin Bajazzo nicht bloss! - Jussi Bjorling/Margit Bokor/Friedrich Ginrod/Vienna St Opr Chor
Faust, Act 2: Da ich nun verlassen soll - Alexander Sved
Faust, Act 5: Auf eilet! - Jussi Bjorling/Alexander Kipnis/Esther Rethy
Tannhauser, Act 1: Als du in kuhnem Sange uns bestritten - Alexander Sved
Tannhauser, Act 3: Wohl wusst' ich hier sie im Gebet zu finden - Alexander Sved
Tannhauser, Act 3: O du mein holder Abendstern - Alexander Sved

Tracks:

Der Fliegende Hollander, Act 2: Er freite alle sieben Jahr - Maria Nemeth/Josef Kalenberg/Bella Paalen/Vienna St Opr Chor
Der Fliegende Hollander, Act 2: Du flogst, den Vater zu begrussen - Maria Nemeth/Josef Kalenberg
Der Fliegende Hollander, Act 2: Allewiger, durch mich-Ach, konntest das Geschick du ahnen - Maria Nemeth/Alfred Jeger
Der Fliegende Hollander, Act 2: Sag, bist du auch bereit-Hier meine Hand - Alfred Jeger/Maria Nemeth/Karl Norbert
Tosca, Act 2: Fliege, du Falke - Sigurd Bjorling/Karl Ettl
Tosca, Act 2: Sei's, man reded mir nach - Sigurd Bjorling/Maria Nemeth
Turandot, Act 2: Lass drei die Ratsel sein-Des Kaisers Wort ist heilig-Drei Ratsel gabst du mir auf - Maria Nemeth/Todor Mazaroff/Vienna St Opr Chor
Turandot, Act 3 (fragment): Keiner schlafe - Todor Mazaroff
I Pagliacci, Act 1: Heute abend um neun - Todor Mazaroff/Vienna St Opr Chor
I Pagliacci, Act 1: Lache, Bajazzo - Todor Mazaroff
I Pagliacci, Act 2: Nein, bin Bajazzo nicht bloss - Todor Mazaroff/Georg Monthy/Aenne Michalski
Samson Et Dalila, Act 2: Salut, o mon maitre - Rosette Anday/Rene Maison
Samson Et Dalila, Act 2: Mon coeur s'ouvre a ta voix - Rosette Anday/Rene Maison
Aida: Vorspiel - Vienna St Opr Orch/Victor de Sabata
Aida, Act 1: Zu des Niles reinen Ufern-Als Sieger kehre heim - Maria Nemeth/Rosette Anday/Alexander Sved/Carl Bissuti/Vienna St Opr Chor
Aida, Act 2: O sag, warum auf's neue - Maria Nemeth/Rosette Anday
Aida, Act 2: Heil dir, Agypten - Vienna St Opr Chor
Aida, Act 2: Zum Lorbeer windet-Der Isis tone Lobgesang - Maria Nemeth/Rosette Anday/Koloman von Pataky/Alexander Sved/Nikolas Zec/Carl Bissuti...

Bach: Cantatas Volumes 1-5 (75 Cantatas for Sundays and Feast Days of the Church Year)

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Bach in the Bach Tradition
A Time Capsule of Sheer Delight

Bach: Cantatas Volumes 1-5 (75 Cantatas for Sundays and Feast Days of the Church Year)
Johann Sebastian Bach , Karl Richter , and Münchener Bach-Orchester (Munich Bach Orchestra)
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

Classical | Box Sets | Stores | Music

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Similar Items:

J.S. Bach: 6 Brandenburgische Konzerte [Australia]
Bach: Sacred Masterpieces
Bach: Organ Works
J.S. Bach: Mass in B minor
St Matthews Passion (2pc)

ASIN: B000001303
Release Date: 1993-10-01

Tracks:

Advent And Christmas Bwv 61 Bwv 132 Bwv 63
Advent And Christmas Bwv 121 Bwv 64 Bwv 171
Advent And Christmas Bwv 58 Bwv 124 Bwv 13
Advent And Christmas Bwv 111 Bwv 81 Bwv 82
Easter Bwv 92 Bwv 126 Bwv 23
Easter Bwv 1 Bwv 182
Easter Bwv 4 Bwv 6 Bwv 67
Easter Bwv 104 Bwv 12
Easter Bwv 108 Bwv 87
Ascension Day Bwv 11 Bwv 44 Bwv 34
Ascension Day Bwv 68 Bwv 175 Bwv 129
Ascension Day Bwv 39 Bwv 76 Bwv 135
Ascension Day Bwv 21 Bwv 24
Ascension Day Bwv 30 Bwv 93
Ascension Day Bwv 147 Bwv 10
Sundays After Trinity I Bwv 9 Bwv 187 Bwv 178
Sundays After Trinity I Bwv 45 Bwv 105 Bwv 102
Sundays After Trinity I Bwv 199 Bwv 179 Bwv 137
Sundays After Trinity I Bwv 33 Bwv 78 Bwv 17
Sundays After Trinity I Bwv 51 Bwv 100 Bwv 27
Sundays After Trinity I Bwv 8 Bwv 148
Sundays After Trinity Ii Bwv 96 Bwv 5 Bwv 56
Sundays After Trinity Ii Bwv 180 Bwv 38 Bwv 55
Sundays After Trinity Ii Bwv 115 Bwv 139 Bwv 60 Bwv 26
Sundays After Trinity Ii Bwv 116 Bwv 70 Bwv 140
Sundays After Trinity Ii Bwv 130 Bwv 80 Bwv 106

Album Details

As One of the Most Legendary Champions of Bach Karl Richter's Many (And in Some Instances Multiple) Recordings of the Composers Cantata's Arguably is his Greatest Achievement. Richter Enlisted Many of the Finest Vocalists in their Prime During the 1950's Through the Early 70's for These Recordings Elevating the Neglected Form at the Time to the Level of Grand Opera. His Conducting, Especially for his Day as Well Remains Remarkably Animated and Fluent Yet Always Respectful of Bach's Underlying Powerful Architectural Components. These Recordings Set the Standard and for Many Today Remain the Benchmark Performances by which all New Ones Continue to Be Judged.

Customer Reviews:

Bach in the Bach Tradition.......2006-12-16

I believe I owe it to the period performance movement for making me feel like I am committing a sin when I don't listen to Gardiner's or Hogwood's Bach (or Handel, or any Baroque composer for that matter). If, say, I put in Shaw's recording of the B minor mass, or most certainly Klemperer's recording of the St. Mathew passion, I feel that I should somehow be ashamed for what I am doing. There may be some type of Freudian truth buried deep within my being ashamed; however, there has always been an exception to my modern instrument guilts. This is, of course, the Bach recordings of Karl Richter; and more specifically, Richter's immortal survey of the sacred cantatas (well, 75 of them anyway). I received this set as a gift when I graduated from college, and I have been constantly listening since. The music of Bach has meant more to me than any other composer, and the Richter recordings show Bach's true genius at full speed ahead.

Don't get me wrong, I love Gardiner's recordings of the B-minor mass and the St. Matthew Passion; and I do believe that period performance practice reveals a totally new dimension of Bach which can sometimes be overlooked (or, "glossed-over" as the case may be with Klepmerer and others of the like). However, any academic arguments favoring Gardiner over Richter are simply meaningless to me. As Glenn Gould said, its not the type of instruments used that count, but rather, a deep respect for the innate structures of the music; this is what's important,and to accomplish this he believed that we must get rid of the incorrect and outdated notion that by "glossing over" these structures, it somehow improves upon them. I think Gould is absolutely correct in saying its respect for the musical structures that counts most; this is the only duty incumbent upon interpreters of Baroque music (and especially Bach). With this in mind, how can Richter not be the supreme interpreter? Richter gives us Bach in the Bach tradition, and I believe that this is in no small part due to his deep understanding of the same Lutheranism which was in the mind of Bach when he wrote this glorious music. To quote yet another Bach authority, Albert Schweitzer once said "Only he who sinks himself into Bach's emotional world, who lives and thinks with him, [...] can rightly bring Bach's music to the listener". I can think of no one who fits the description quite like Karl Richter.

Well, all arguments aside, the music on these 26 [!] discs are absolutely unsurpassed. I was a bit worried before I received this set, as I knew that in Richter's latter years, he did seem to take various liberties with the scores (more specifically, a slowing of the tempi to the point that it takes us out of the Bach tradition). However, I can safely say that these rumored liberties are nowhere to be found in this set, just pure Bach. I wont dare try to single out notable performances of this massive set (I would be here all night, and I am sure you are becoming tired of reading this anyway). However, one cantata specifically stood out for me during my first few hours with the set (and has since stuck with me); this being BWV 132 (4th Sunday in Advent cantata). This specific cantata, can speak for the entire set in terms of the soloist supremacy above all other Bach cantata recordings (how can you go wrong with Edith Mathis, Anna Reynolds, Peter Schreier, and Theo Adam - with Ursula Buckel and Dietrich Fischer-Dieskau elsewhere on the set).

So, finally, this set has exactly what I want in a survey of the cantatas - that is, the genius of J.S. Bach is in the driver's seat, not the conductors. While Gardiner has his moments (and when he does, they are fantastic), and Klemperer did at least get everyone talking about Bach again, I believe Richter's interpretations are the standard by which this music should be played and heard. This set is a landmark in the history of Bach recordings, and although quite expensive, it really should be in the collections of all lovers of music.

- By the way, the set comes in a large slipcover (as shown above by Amazon), with the five original fold-open cases inside; each made of an extremely sturdy, glossy-coated cardboard (as shown above by me [hopefully]). Each disc is in a paper sleeve.

A Time Capsule of Sheer Delight.......2006-12-15

I treasured these recordings as a music student in high school and college in the '70's. Although newer, 'historically correct' recordings were emerging, Richter's musicality, if one will, still attracted me to these Archive recordings. This set is a bargin considering all the music there is to digest. DG's remastering is excellent-the warm analog sound does not suffer what can sometimes be a strident digitized reincarnation. DG's engineers and hardware were always on the cutting edge and these recordings speak to that fact. Say what one will about the oddities of interpertation, there is music in evey bar. Before I began listening, I though that I should prepare myself to forgive Richer for his position in history and look the other way when so called historically inaccurate idioms presented themselves. Yes, they are there, but, the younger listener will be quite astonished to find amazing vitality and sweep of phrase and articulation. Richter's tempi are often suprisingly brisk. The roster of soloists speaks for itself. If you are a musician interested in the genesis of Bach interpertation, this set is a must-have. It is often said that many Bach conductors after Richter took up where he left off. This group of recordings is a testament to his influence. Bravo DG !

The Heavens Are Sounding (Favorite Choruses)

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The Heavens Are Sounding (Favorite Choruses)

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

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

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000006KAK
Release Date: 1990-10-25

Bach 2000: The Complete Bach Edition (Includes Commemorative Book) (Box Set)

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Bach is priceless
Buy the works you like....
Poor Bach
A Treasure Trove
147 out of 153 ain't bad!

Bach 2000: The Complete Bach Edition (Includes Commemorative Book) (Box Set)
Nikolaus Harnoncourt , Robin Gritton , Giovanni Antonini , Gustav Leonhardt , Ton Koopman , Alice Harnoncourt , and Zehetmair, Thomas
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Canons | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Inventions | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

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

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

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

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

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

Classical | Box Sets | Stores | Music

Opera & Vocal | Box Sets | Stores | Music
ASIN: B00001IV8B
Release Date: 1999-09-14

Tracks:

Wie schon leuchtet der Morgenstern
Du Wahrer Gottes und Marien Sohn
Erfuellet, ihr himmlischen goettlichen Flammen
Ein irdscher Glanz, wein leiblich Licht
Unser Mund und Ton der Saiten
Wie Schon Leuchtet Der Morgenstern, BWV 1: Chor: 'Wie Bin Ich Doch So Herzlich Froh' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
Ach Gott, Vom Himmel Sieh Darein, BWV 2: Chor: 'Ach Gott, Vom Himmel Sieh Darein' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
Ach Gott, Vom Himmel Sieh Darein, BWV 2: Recitativo: 'Sie Lehren Eitel Falsche List' - Kurt Equiluz
Ach Gott, Vom Himmel Sieh Darein, BWV 2: Aria: 'Tilg, O Gott, Die Lehren' - Paul Esswood
Ach Gott, Vom Himmel Sieh Darein, BWV 2: Recitativo: 'Die Armen Sind Verstort' - Max Van Egmond
Ach Gott, Vom Himmel Sieh Darein, BWV 2: Aria: 'Durchs Feuer Wird Das Silber Rein' - Kurt Equiluz
Ach Gott, Vom Himmel Sieh Darein, BWV 2: Chor: 'Das Wollst Du, Gott, Bewahren Rein' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
Ach Gott, Wie Manches Herzeleid, BWV 3: Chor: 'Ach Gott, Wie Manches Herzeleid' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
Ach Gott, Wie Manches Herzeleid, BWV 3: Choral Recitativo: 'Wie Schwerlich Lasst Sich Fleisch Und... - Wiener Sangerknaben/Hans Gillesberger/Paul Esswood/Kurt Equiluz/Max Van Egmond...
Ach Gott, Wie Manches Herzeleid, BWV 3: Aria: 'Empfind Ich Hollenangst Und Pein' - Max Van Egmond
Ach Gott, Wie Manches Herzeleid, BWV 3: Recitativo: 'Es Mag Mir Leib Und Geist Verschmachten' - Kurt Equiluz
Ach Gott, Wie Manches Herzeleid, BWV 3: Aria: 'Wenn Sorgen Auf Mich Dringen' - Wiener Sangerknaben/Hans Gillesberger/Paul Esswood
Ach Gott, Wie Manches Herzeleid, BWV 3: Chor: 'Erhalt Mein Herz Im Glauben Rein' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger

Tracks:

Ich elender Mensch, wer wird mich erloesen
O Schmerz, o Elend, so mich trifft
Solls ja so sein
Ach lege das Sodom der suendlichen Glieder
Hier aber tut des Heilands Hand
Ich Elender Mensch, Wer Wird Mich Erlosen, BWV 48: Aria: 'Vergibt Mir Jesus Meine Sunden' - Kurt Equiluz
Ich Elender Mensch, Wer Wird Mich Erlosen, BWV 48: Chor: 'Herr Jesu Christ, Einiger Trost' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
Ich Geh Und Suche Mit Verlangen, BWV 49: Sinf - Concentus Musicus Wien/Nikolaus Harnoncourt
Ich Geh Und Suche Mit Verlangen, BWV 49: Aria: 'Ich Geh Und Suche Mit Verlangen' - Ruud Van Der Meer
Ich Geh Und Suche Mit Verlangen, BWV 49: Recitativo Ed Arioso: 'Mein Mahl Ist Zubereit'' - Ruud Van Der Meer/Peter Jelosits
Ich Geh Und Suche Mit Verlangen, BWV 49: Aria: 'Ich Bin Herrlich, Ich Bin Schon' - Peter Jelosits
Ich Geh Und Suche Mit Verlangen, BWV 49: Recitativo: 'Mein Glaube Hat Mich Selbst So Angezogen' - Peter Jelosits/Ruud Van Der Meer
Ich Geh Und Suche Mit Verlangen, BWV 49: Aria (Duetto): 'Dich Hab Ich Je Und Je Geliebet' - Peter Jelosits/Ruud Van Der Meer
Nun Ist Das Heil Und Die Kraft, BWV 50: Chor: 'Nun Ist Das Heil Und Die Kraft' - Wiener Sangerknaben/Chor Viennensis/Hans Gillesberger
Jauchzet Gott In Allen Landen, BWV 51: Aria: 'Jauchzet Gott In Allen Landen!' - Marianne Kweksilber
Jauchzet Gott In Allen Landen, BWV 51: Recitativo: 'Wir Beten Zu Dem Tempel An' - Marianne Kweksilber
Jauchzet Gott In Allen Landen, BWV 51: Aria: 'Hochster, Mache Deine Gute' - Marianne Kweksilber
Jauchzet Gott In Allen Landen, BWV 51: Chor: 'Sei Lob Und Preis Mit Ehren' - Marianne Kweksilber
Jauchzet Gott In Allen Landen, BWV 51: Aria: 'Alleluja!' - Marianne Kweksilber

Tracks:

(Caro) Was Gott tut, das ist wohlgetan
(Alto, Tenore) Was Gott tut, das ist wohlgetan
(Soprano) Was Gott tut, das ist wohlgetan
(Basso) Was Gott tut, das ist wohlgetan
(Alto) Was Gott tut, das ist wohlgetan
Was Gott Tut, Das Ist Wohlgetan, BWV 100: Chor: 'Was Gott Tut, Das Ist Wohlgetan' - Knabenchor Hannover/Heinz Hennig/Collegium Vocale, Gent/Philippe Herreweghe
Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Chor: 'Nimm Von Uns, Herr, Du Treuer Gott' - Tolzer Knabenchor/Gerhard Schmidt-Gaden
Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Aria: 'Handle Nicht Nach Deinen Rechten' - Kurt Equiluz
Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Recitativo-Chor: 'Ach! Herr Gott, Durch Die Treue Dein' - Wilhelm Wiedl
Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Aria: 'Warum Willst Du So Zornig Sein?' - Philippe Huttenlocher
Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Recitativo-Chor: 'Die Sund Hat Uns Verderbet Sehr' - Kurt Equiluz
Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Aria (Duetto): 'Gedenk An Jesu Bittern Tod!' - Wilhelm Wiedl/Paul Esswood
Nimm Von Uns, Herr, Du Treuer Gott, BWV 101: Chor: 'Leit Uns Mit Deiner Rechten Hand' - Tolzer Knabenchor/Gerhard Schmidt-Gaden
Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Prima Parte: Chor: 'Herr, Deine Augen Sehen... - Tolzer Knabenchor/Gerhard Schmidt-Gaden
Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Prima Parte: Recitativo: 'Wo Ist Das Ebenbild' - Philippe Huttenlocher
Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Prima Parte: Aria: 'Weh Der Seele' - Paul Esswood
Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Prima Parte: Arioso: 'Verachtest Du Den... - Philippe Huttenlocher
Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Seconda Parte: Aria: 'Erschrecke Doch, Du... - Kurt Equiluz
Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Seconda Parte: Recitativo: 'Beim Warten Ist... - Paul Esswood
Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102, Seconda Parte: Chor: Heut Lebst Du, Heut... - Tolzer Knabenchor/Gerhard Schmidt-Gaden

Tracks:

Sinfonia
Nach dir, Herr, verlanget mich
Doch bin und bleibe ich vergnuegt
Leite mich in deiner Wahrheit
Zedern muessen von den Winden
Nach Dir, Herr, Verlanget Mich, BWV 150: Chor: 'Meine Augen Sehen Stets Zu Dem Herrn' - Knabenchor Hannover/Heinz Hennig/Collegium Vocale, Gent/Philippe Herreweghe
Nach Dir, Herr, Verlanget Mich, BWV 150: Chor: 'Meine Tage In Dem Leide' - Knabenchor Hannover/Heinz Hennig/Collegium Vocale, Gent/Philippe Herreweghe
Susser Trost, Mein Jesus Kommt, BWV 151: Aria: 'Susser Trost, Mein Jesus Kommt' - Sebastian Hennig
Susser Trost, Mein Jesus Kommt, BWV 151: Recitativo: 'Erfreue Dich, Mein Herz' - Max Van Egmond
Susser Trost, Mein Jesus Kommt, BWV 151: Aria: 'In Jesu Demut Kann Ich Trost' - Paul Esswood
Susser Trost, Mein Jesus Kommt, BWV 151: Recitativo: 'Du Teurer Gottessohn' - Kurt Equiluz
Susser Trost, Mein Jesus Kommt, BWV 151: Chor: 'Heut Schleusst Er Wieder Auf Die Tur' - Knabenchor Hannover/Heinz Hennig/Collegium Vocale, Gent/Philippe Herreweghe
Tritt Auf Die Glaubensbahn, BWV 152: Con - Concentus Musicus Wien/Nikolaus Harnoncourt
Tritt Auf Die Glaubensbahn, BWV 152: Aria: 'Tritt Auf Die Glaubensbahn' - Thomas Hampson
Tritt Auf Die Glaubensbahn, BWV 152: Recitativo: 'Der Heiland Ist Gesetzt' - Thomas Hampson
Tritt Auf Die Glaubensbahn, BWV 152: Aria: 'Stein, Der Uber Alle Schatze' - Christoph Wegmann
Tritt Auf Die Glaubensbahn, BWV 152: Recitativo: 'Es Argre Sich Die Kluge Welt' - Thomas Hampson
Tritt Auf Die Glaubensbahn, BWV 152: Duetto: 'Wie Soll Ich Dich, Liebster Der Seelen, Umfassen?' - Christoph Wegmann/Thomas Hampson
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Chor: 'Schau, Lieber Gott, Wie Meine Feind' - Tolzer Knabenchor//Gerhard Schmidt-Gaden
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Recitativo: 'Mein Liebster Gott' - Stefan Rampf
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Aria: 'Furchte Dich Nicht, Ich Bin Mit Dir' - Thomas Hampson
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Recitativo: 'Du Sprichst Zwar, Lieber Gott' - Kurt Equiluz
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Chor: 'Und Ob Gleich Alle Teufel - Tolzer Knabenchor//Gerhard Schmidt-Gaden
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Aria: 'Sturmt Nur, Sturmt, Ihr Trubsalswetter' - Kurt Equiluz
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Recitativo: 'Getrost! Mein Herz, Erdulde Deinen... - Thomas Hampson
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Aria: 'Soll Ich Meinen Lebeslauf' - Stefan Rampf
Schau, Lieber Gott, Wie Meine Feind, BWV 153: Chor: 'Drum Will Ich, Weil Ich Lebe Noch' - Tolzer Knabenchor//Gerhard Schmidt-Gaden

Tracks:

Die Zeit, die Tag und Jahre macht
Auf, Sterbliche, lasset ein Jauchzen ertoenen
So bald, als dir die Sternen hold
Es streiten, es siegen die kuenftigen Zeiten
Bedenke nur, begluecktes Land
Die Zeit, Die Tag Und Jahre Macht, BWV 134A: Aria: 'Der Zeiten Herr Hat Viel Vergnugte Stunden' - Michael Chance
Die Zeit, Die Tag Und Jahre Macht, BWV 134A: Recitativo: 'Hilf, Hochster, Hilf' - Michael Chance/Paul Agnew
Die Zeit, Die Tag Und Jahre Macht, BWV 134A: Chor: 'Ergetzet Auf Erden' - The Amsterdam Baroque Chor/Ton Koopman
Durchlauchtster Leopold, BWV 173A: Recitativo: 'Durchlauchtster Leopold' - Lisa Larsson
Durchlauchtster Leopold, BWV 173A: Aria: 'Guldner Sonnen Frohe Stunden' - Lisa Larsson
Durchlauchtster Leopold, BWV 173A: Aria: 'Leopolds Vortrefflichkeiten' - Klaus Mertens
Durchlauchtster Leopold, BWV 173A: Aria: 'Unter Seinem Purpursaum' - Lisa Larsson/Klaus Mertens
Durchlauchtster Leopold, BWV 173A: Recitativo: 'Durchlauchtigster, Den Anhalt Vater Nennt' - Lisa Larsson/Klaus Mertens
Durchlauchtster Leopold, BWV 173A: Aria: 'So Schau Des Holden Tages Licht' - Lisa Larsson
Durchlauchtster Leopold, BWV 173A: Aria: 'Dein Name Gleich Der Sonnen Geh' - Klaus Mertens
Durchlauchtster Leopold, BWV 173A: Chor: 'Nimm Auch, Grosser Furst, Uns Auf' - Lisa Larsson/Klaus Mertens

Tracks:

Kyrie eleison
Christe eleison
Kyrie eleison
Gloria in excelsis Deo
Laudamus te
Mass in b, BWV 232: I. Missa: Gloria: Gratias Agimus Tibi - Arnold Schoenberg Chor/Erwin Ortner
Mass in b, BWV 232: I. Missa: Gloria: Domine Deus - Angela Maria Blasi/Kurt Equiluz
Mass in b, BWV 232: I. Missa: Gloria: Qui Tollis - Arnold Schoenberg Chor/Erwin Ortner
Mass in b, BWV 232: I. Missa: Gloria: Qui Sedes - Jadwiga Rappe
Mass in b, BWV 232: I. Missa: Gloria: Quoniam To Solus - Arnold Schoenberg Chor/Erwin Ortner
Mass in b, BWV 232: I. Missa: Gloria: Cum Sancto Spiritu - Arnold Schoenberg Chor/Erwin Ortner

Tracks:

Singet dem Herrn ein neres Lied
Der Geist hilft unser Schwachheit auf
Komm, Jesu, komm
Jesu, meine Freude
Fuerchte dich nicht, ich bin bei dir
Lobet Den Herrn, Alle Heiden, BWV 230 - Stockholm Bach Chor/Anders Ohrwall

Tracks:

Fantasia et Fuga in g BWV 542
Fuga in g BWV 578
Canzona in d BWV 588
Praeludium et Fuga in h BWV 544
Praeludium et Fuga in a BWV 543
Fant in c, BWV 562 - Ton Koopman
Prld Et Fuga in C, BWV 531 - Ton Koopman
Fant in G, BWV 572 - Ton Koopman
Fant in C, BWV 570 - Ton Koopman
Passacaglia in c, BWV 582 - Ton Koopman

Tracks:

Inventio 1 BWV 772
Inventio 2 BWV 773
Inventio 3 BWV 774
Inventio 4 BWV 775
Inventio 5 BWV 776
Inventio 6 in E, BWV 777 - Zuzana Ruzickova
Inventio 7 in e, BWV 778 - Zuzana Ruzickova
Inventio 8 in F, BWV 779 - Zuzana Ruzickova
Inventio 9 in f, BWV 780 - Zuzana Ruzickova
Inventio 10 in G, BWV 781 - Zuzana Ruzickova
Inventio 11 in g, BWV 782 - Zuzana Ruzickova
Inventio 12 in A, BWV 783 - Zuzana Ruzickova
Inventio 13 in a, BWV 784 - Zuzana Ruzickova
Inventio 14 in B flat, BWV 785 - Zuzana Ruzickova
Inventio 15 in b, BWV 786 - Zuzana Ruzickova
Sinf 1 in C, BWV 787 - Zuzana Ruzickova
Sinf 2 in c, BWV 788 - Zuzana Ruzickova
Sinf 3 in D, BWV 789 - Zuzana Ruzickova
Sinf 4 in d, BWV 790 - Zuzana Ruzickova
Sinf 5 in E flat, BWV 791 - Zuzana Ruzickova
Sinf 6 in E, BWV 792 - Zuzana Ruzickova
Sinf 7 in e, BWV 793 - Zuzana Ruzickova
Sinf 8 in F, BWV 794 - Zuzana Ruzickova
Sinf 9 in f, BWV 795 - Zuzana Ruzickova
Sinf 10 in G, BWV 796 - Zuzana Ruzickova
Sinf 11 in g, BWV 797 - Zuzana Ruzickova
Sinf 12 in A, BWV 798 - Zuzana Ruzickova
Sinf 13 in a, BWV 799 - Zuzana Ruzickova
Sinf 14 in B flat, BWV 800 - Zuzana Ruzickova
Sinf 15 in b, BWV 801 - Zuzana Ruzickova

Tracks:

Prelude and Fugue in A minor: Praeludium
Prelude and Fugue in A minor: Fuga
Prelude and Fughetta in E minor: Praeludium
Prelude and Fughetta in E minor: Fuga
Prelude in G major BWV 902a
Fant And Fugue in a, BWV 904: Fant - Zuzana Ruzickova
Fant And Fugue in a, BWV 904: Fuga - Zuzana Ruzickova
Clavier-Buchlein Vor W.F. Bach: Prld in C, BWV 924 - Zuzana Ruzickova
Clavier-Buchlein Vor W.F. Bach: Prld in D, BWV 925 - Zuzana Ruzickova
Clavier-Buchlein Vor W.F. Bach: Prld in d, BWV 926 - Zuzana Ruzickova
Clavier-Buchlein Vor W.F. Bach: Prld in F, BWV 927 - Zuzana Ruzickova
Clavier-Buchlein Vor W.F. Bach: Prld in F, BWV 928 - Zuzana Ruzickova
Clavier-Buchlein Vor W.F. Bach: Prld in g, BWV 930 - Zuzana Ruzickova
Clavier-Buchlein Vor W.F. Bach: Prld in a, BWV 931 - Zuzana Ruzickova
Prld in E, BWV 937 - Zuzana Ruzickova
Prld in C, BWV 939 - Zuzana Ruzickova
Prld in d, BWV 940 - Zuzana Ruzickova
Applicatio in C, BWV 994 - Zuzana Ruzickova

Tracks:

Suite in G minor BWV 995: Prelude
Suite in G minor BWV 995: Allemande
Suite in G minor BWV 995: Courante
Suite in G minor BWV 995: Sarabande
Suite in G minor BWV 995: Gavotte I - Gavotte II en Rondeau
Ste in g, BWV 995: Gigue - Luca Pianca
Ste in e, BWV 996: Prld (Passagio-Presto) - Michele Barchi
Ste in e, BWV 996: Allemande - Michele Barchi
Ste in e, BWV 996: Courante - Michele Barchi
Ste in e, BWV 996: Sarabande - Michele Barchi
Ste in e, BWV 996: Bourree - Michele Barchi
Ste in e, BWV 996: Gigue - Michele Barchi
Ste in c, BWV 997: Prld - Michele Barchi/Luca Pianca
Ste in c, BWV 997: Fuga - Michele Barchi/Luca Pianca
Ste in c, BWV 997: Sarabande - Michele Barchi/Luca Pianca
Ste in c, BWV 997: Gigue-Double - Michele Barchi/Luca Pianca

Tracks:

Concerto for two violins BWV 1043: Vivace
Concerto for two violins BWV 1043: Largo, ma non tanto
Concerto for two violins BWV 1043: Allegro
Concerto BWV 1042: Allegro
Concerto BWV 1042: Adagio
Con in E, BWV 1042: Allegro Assai - Alice Harnoncourt
Con in a, BWV 1041: Allegro - Alice Harnoncourt
Con in a, BWV 1041: Andante - Alice Harnoncourt
Con in a, BWV 1041: Allegro Assai - Alice Harnoncourt
Con in g, BWV 1056R: (Allegro) - Alice Harnoncourt
Con in g, BWV 1056R: Largo - Alice Harnoncourt
Con in g, BWV 1056R: Presto - Alice Harnoncourt
Con in g, BWV 1060R: Allegro - Jurg Schaeftlein/Alice Harnoncourt
Con in g, BWV 1060R: Adagio - Jurg Schaeftlein/Alice Harnoncourt
Con in g, BWV 1060R: Allegro - Jurg Schaeftlein/Alice Harnoncourt

Amazon.com

The Bach renaissance--which began in earnest in the early 19th century thanks to the efforts of Felix Mendelssohn and others--inspired an endeavor of far-reaching significance. It led to the founding of the Bach Society in 1850, with the goal of gathering and publishing the composer's complete works, and thus set into motion one of the great projects of musical scholarship. That effort has continued and been refined throughout the 20th century, ultimately influencing not only our perception of how to perform early music but fundamental ideas of musical history, evolution, and reception as well.

Teldec's mammoth Bach 2000 box set represents a kind of culmination of that original attempt to come to terms with Johann Sebastian Bach's unparalleled legacy. This set brings together performances recorded over the last several decades--a small percentage of the recordings are previously unreleased--of all the extant works determined by modern scholarship to be authentic. There are also some pieces the authorship of which is still in question and a few now deemed "inauthentic" but familiarly associated with the composer. Bach was a prodigious reviser of his compositions, and alternate versions of a particular work have been included "where the changes seemed sufficiently important," such as the glorious Magnificat. No doubt manuscripts will continue to be unearthed here and there in various archives (Bach 2000 contains, for example, the "Neumeister chorales," which were rediscovered in 1984), but the set does not represent the many fragments of music that consist of just a few bars; however, there are some reconstructions of lost concertos (such as one for three violins reconstructed by Christopher Hogwood from an extant concerto for harpsichords).

Of course a truly comprehensive recorded edition of every note Bach wrote remains a utopian impossibility--about one-third of his cantatas, for example, have not survived. Even so, the dimensions of Bach 2000 are staggering. With its 12 boxes comprising 153 CDs, the set can be compressed into fewer boxes to save shelf space yet is still about ten times as long as the Ring cycle. (It should be noted that the packaging--using thin cardboard sleeves for the CDs--is distinctively unattractive.) That adds up to just under 160 hours of music--but a lifetime of discovery. Each box (grouped according to genre) contains a booklet with excellent notes on individual works and--for all the choral works--texts and translations. Tracking indexes are useful and thorough. Also included is a profusely illustrated hardbound volume of 24 Inventions, in which journalist Wolfgang Sandberger uses the composer's biography as a peg for some enigmatic and fascinating musings on the meaning of Bach today.

The presiding philosophy behind this project and its approach to musical interpretation can be largely ascribed to Nikolaus Harnoncourt, a true musical pioneer and galvanizing force of the "period performance" movement. Harnoncourt's epoch-making recordings of the sacred cantatas (using, for instance, boy sopranos and choristers according to the practice in Bach's time) with the Concentus musicus Wien and colleague Gustav Leonhardt comprise the first four volumes here (those who already own them can turn to the Bach 2000 Light edition, which contains everything sans the cantatas). These recordings--which were not remastered for this set--have long been controversial and are notably uneven, embracing some magnificent accounts as well as others that lack fire and seem clearly underrehearsed. But Harnoncourt is one of the most fascinating conductors of our era, and his interpretations amply bear out his assertion: "I have never felt that Bach worked in a routine manner, that he repeated himself in his works." Harnoncourt--who has articulated many of his ideas in his book The Musical Dialogue--displays his gifts as a cellist in a remarkably probing performance of the Cello Suites (originally recorded in 1965) and in his concertizing for a number of chamber works. For the St. Matthew Passion, you get Harnoncourt's groundbreaking earlier account from 1970, while his 1986 recording of the sublime B Minor Mass is also represented here (the St. John Passion included is Harnoncourt's 1995 acount).

Other artists included are colleague Gustav Leonhardt, whose thoughtful if occasionally dry harpsichord artistry is heard in the Goldberg Variations as well as in the concertos and chamber music. The harpsichord is in fact used throughout in preference to piano for the keyboard works. Ton Koopman (himself the conductor of an ongoing complete cantata series and of the Easter Oratorio included here) performs the organ works, including some newly recorded offerings, while Il Giardino Armonico's well-known high-energy account represents the Brandenburg Concertos. Violinist Thomas Zehetmair is exceptionally compelling in the unaccompanied sonatas and partitas, and the Concentus musicus Wien--again under Harnoncourt--perform a superb Musical Offering that richly repays frequent listening.

The result of Bach 2000 as a whole is an aptly encyclopedic grappling with the infinite legacy of this most compendious of composers, whose works are on one level a summation of all the styles available to him. Bach was once thought to represent a "terminal point" (to use Albert Schweitzer's famous formulation), the end of an era; today he is at least equally recognized as a fertile source of inspiration for composers since. To be sure, individual recordings of particular works will be found to be preferable, and it would be misguided to consider Bach 2000 any kind of "final" or "definitive" word. Instead, it's an indispensable starting point that represents a monumental achievement for our own contemporary understanding of Bach. --Thomas May

Album Description

Volume 1, 15 Discs
Sacred Cantatas Nos. 1-14, 16-47; 15 CDs; Harnoncourt/Leonhardt

Volume 2, 15 Discs
Sacred Cantatas Nos. 48-52, 54-69, 69A, 70-99; 15 CDs; Harnoncourt/Leonhardt

Volume 3, 15 Discs
Sacred Cantatas Nos. 100-117, 119-140,143-149; 15 CDs; Harnoncourt/Leonhardt

Volume 4, 15 Discs
Sacred Cantatas BWV 150-159, 161-188, 192, 194-199; 15 CDs; Harnoncourt/Leonhardt

Volume 5, 11 Discs
Secular Cantatas App. Sacred Cantatas; 11 CDs; Koopman, Harnoncourt, Koopman, Goebel and others

Volume 6, 14 Discs
The Sacred Vocal Works Masses,Magnificat, Passions, Oratorios; 14 CDs; Harnoncourt, Koopman, Corboz and others

Volume 7
, 7 Discs
The Motets, Chorales & Songs Kirnberger Chorales,Schemelli Songs, Quodlibet

Volume 8, 16 Discs
The Organ Works; 16 CDs; Ton Koopman

Volume 9, 11 Discs
The Keyboard Works (I) The Well-Tempered Clavier, English & French Suites, Partitas etc; 11 CDs; Curtis, Ross, Wilson, Ruzickova

Volume 10, 11 Discs
The Keyboard Works (II) Goldberg Variations, Toccatas, Fugues, Italian Concerto, etc; 11 CDs; Staier, Barchi, Leonhardt, von Asperen, Baumont, and others

Volume 11, 13 Discs
The Chamber Music Violin Sonatas & Partitas, Flute Sonatas, Works for Lute, Art of Fugue, Musical Offering, etc; 13 CDs; Harnoncourt, Pianca, Tachezi, Brggen, Zehetmair, and others

Volume 12, 10 Discs
The Orchestral Works The Concertos & Orchestral Suite; 10 CDs; Il Giardino Armonico, Harnoncourt, Leonhardt

Customer Reviews:

Bach is priceless.......2006-11-10

I believe, as another reviewer has stated, Bach's music may be the best ever written. Also, I think the cantatas are not where Bach placed his heart and soul. He was, after all, employed as a canter and in a position he did not wish for, but was forced to take to feed his large family. (I recommend "Bach and the High Baroque" lecture series by TTC.) What really stands out on this collection are all works in volumes 8 and above. Some of these works are hard to find and having them all in this collection and preformed on original instruments is great. Bach is priceless and so then is this collection.

Buy the works you like...........2006-01-11

If you love Bach, which you must if you are looking at this particular item, you probably own a couple of his works already. Perhaps some of them are on the Teldec label. There is nothing wrong with Teldec if you are just getting into "classical" music. You will probably enjoy the music thoroughly. I know I did, as one of the first "classical" releases I bought was on Teldec, and it was Bach. I was amazed how great Bach was. Then my brother showed me the same recording, performed by another group, on another label. It had a lot more passion, and the instrumentalists were obviously of a higher level. Pardon my rambling, but what I'm trying to say is, the recordings found in this boxset are not the "cream of the crop." They are perfectly acceptable, easily listenable renditions of what many consider the greatest music...EVER. Take it from me, someone who has leapt into boxset land one too many times: Save your money, buy the individual albums. Take your time, talk to record store clerks (read Amazon reviews), do your research. If you are lucky enough to have a decent record store around, listen to multiple versions of the same work. No one said you had to buy it all at once. It can take a lifetime to fully realize the potency of this music, so enjoy the discovery as long as possible.

Poor Bach.......2005-11-26

In Antony & Cleopatra, Shakespeare wrote: "I shall see some squeaking Cleopatra boy my greatness...."

I am 99% in favor of original instrument performances, but there are limits. Just imagine if we had the same sort of thing going on with Shakespeare's plays -- men and boys playing all of the women's parts. And if we *really* wanted to be original, they would be squeaking boys "I' th' posture of a whore" (Shakespeare's words). Such performances would knock Monty Python
right out of business.

The Cantatas, which are the lion's share of this collection, are sung by boys, boys, boys. If you want to ruin boy choirs for yourself, then go for it. It might still be a novelty by the fifth CD but by the fiftieth, you will want to throw your &*%$ wig at the squeaking speakers, just as the exasperated Bach famously did with his own wig and his own boy choir. (For which he was reprimanded.)

Does Harnoncourt really, honestly think that Bach would have picked a boy choir if he could have had women? Does anyone seriously believe that Shakespeare would have preferred his parts played by boys instead of women?

If you buy this set, don't buy it for the Cantatas, unless (unlike Bach) you can tolerate immature voices with "wig-tossingly" inconsistent intonation. Hold out for Suzuki or Koopman. Stay away from the Rifkin perfomances, mostly because the recording quality is second and third rate by today's standards. Not that historical performances should be shunned, but you might want to think twice about 60 odd CDs worth of second rate sound.

A Treasure Trove.......2004-03-07

This set is the culmination of several decades of work on the part of the West German record label Teldec (formerly known as Telefunken-Decca). With their early-music subdivision Das Alte Werk (similar to DG's Archiv or Decca's L'Oiseau-Lyre), Teldec have been in the forefront of exploring the world of period instruments and authentic performance practice, with special emphasis on the works of J.S.Bach. The lion's share of recordings here was originally made for Das Alte Werk, with the odd exception here and there licensed from other labels in order to fill in the gaps. The centerpiece of the set is the famous recording of the 199 church cantatas by Nikolaus Harnoncourt and Gustav Leonhardt. If you're not familiar with the cantatas, there's a whole world of drama, color and expression right here waiting for you. You'll also be surprised to learn how many of the "tunes" you know from popular arrangements, like "Jesu, Joy of Man's Desiring" and "Sleepers Awake" are actually movements from cantatas. The names of Harnoncourt and Leonhardt pop up again and again; they were both mainstays of the Teldec roster. Leonhardt gives us his 1965 Goldberg Variations on a Dulcken harpsichord whose every tone is like a bell, and Harnoncourt's "home" recording of the Cello Suites (never intended for general release) shows the ferment of a great musical mind. Ton Koopman gives us his provocative and controversial re-thinkings of the organ works, and Thomas Zehetmair's performances of the unaccompanied violin sonatas and partitas are like dramatic scenes spoken by a solo violin. Here are the uniquely bizarre Brandenburg Concertos by Il Giardino Armonico; the rhetorical and transparent performance of the motets conducted by Harnoncourt (perhaps his best-ever recording); Leonhardt's relaxed and smiling versions of the harpsichord concertos; Alice Harnoncourt's tawny, leonine performances of the sonatas for violin and harpsichord; Harnoncourt's chiaroscuro-filled performance of the Christmas Oratorio, and so on. This set is one of the most worthwhile CD buys you could make. You will never be bored with this to dip into over the years.

147 out of 153 ain't bad!.......2001-04-29

Having listened to the complete set, I can confidently recommend it, if you would use a complete set of Bach's works.

If you really like Bach, it is well worth getting. You will read disparaging reviews which will tell you that there are better performances of individual works. But this is a great opportunity for a Bach lover to get very good versions of his entire oeuvre.

In the set of 60 CDs of sacred cantatas, there are about 6 duds, which feature out of tune boy sopranos! If you are not crazy about sacred cantatas, you can buy a set which omits them, which may be advised!

I love the version of the Mass in B minor, though it is very different from our set by Munchinger [which we really enjoy].

The Brandenburgs are great. THe first movement of the first concerto is a knock out! Very brassy and bombastic: quite different from the 3 or 4 other versions I have previously enjoyed.

We are a piano family and have many CDs of Bach keyboard works played on piano [though we also have the Well Tempered Clavier on harpsichord and clavichord] The keyboard performances in the set are all on harpsichord and are lively and very enjoyable.

It takes some getting used to the authentic Baroque flute performances: especially occasional out-of-tuneness. But these are also interesting and musically played.

Tracks:

Der Todd Und Das Madchen D531
Der Leidende D432 (3rd Version)
Totengraberlied D44
Lied / Die Mutter Erde D788 (Des Lebens Tag)
Der Leidende D432 (2nd Version)
Die Nonne D208
Taglich Zu Singen D533
Klage D371 (Trauer Umfliesst Mein Leben)
Stimme Der Liebe D412
Seufzer D198
An Eiene Quelle D530
An Die Apfelbaume, Wo Ich Julien Erblickte D197
Die Fruhe Liebe D430
An Den Mond D193 (Geuss Lieber Mond)
Abendlied D499 (Der Mond Ist Aufgegangen)
Klage D436 (Dein Silber Schien Durch Eichengrun)
Auf Den Tod Einer Nachtigall D201 (1st Setting, Fragment)
Auf Den Tod Einer Nachtigall D399 (2nd Setting)
Auf Dem Wasser Zu Singen D774
Lied In Der Abwesenheit D416
Der Liebende D207
Minnelied D429
Der Traum D213
Seligkeit D433

Average customer rating:

Mendelssohn & Brahms: Sacred Motets

Manufacturer: Gloria Dei Cantores
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00004R8QH
Release Date: 2000-03-07

Telemann: Heilig, heilig, heilig ist Gott

Average customer rating:

An Important Choral Work by Telemann

Telemann: Heilig, heilig, heilig ist Gott
Immer , Stotzel , Trompeten Consort , and Hannoversche Hofkapelle
Manufacturer: Hanssler Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
ASIN: B000BNTMJ6
Release Date: 2005-11-08

Album Description

Telemann scholar and period instrument specialist Ulrich Stötzel continues his exploration of this great Baroque genius in this new recording. The festival music Heilig, heilig, heilig ist Gott (TVWV 2:6), is one of the sweeping compositions that Telemann composed between 1738 and 1762 for various ceremonies and festivities for the prosperous city of Hamburg.

Customer Reviews:

An Important Choral Work by Telemann.......2006-05-25

This is one of the many hidden treasures still to be unearthed in Telemann's vast catalog. Given the numbers (some 3,000 compositions in all), I'm sure there are many, many works not worth dusting off, but certainly "Heilig, heilig, heilig" is a real discovery. Big in scale and in sound, it was written for the dedication ceremony for the Church of the Holy Trinity in Hamburg in 1747. So it's a mature work that reflects Telemann's progressiveness. Take the aria "Es strahlt die Pracht" (No. 3). It has both a strange melodic contour and harmony; the strings often sound as though they're tuning up. This is to articulate the text, which contrasts the splendor of God's strength with the understandable fear and trembling of puny man. Strange music that looks toward the growing importance of Affekt in North German musical circles, which Telemann's godson C. P. E. Bach would take to both its logical and illogical conclusion in his wonderfully offbeat pieces.

The work starts in striking fashion as well, with a slow crescendo, over drum rolls, which leads to a stirring chorus on "Heiling, heilig, heilig" ("Holy, holy, holy"). Equally stirring is the chorus (No. 10) designed to follow the dedication sermon, "Machet die Tore weit" ("Lift up your heads, o ye gates"). Another high point is the tender aria (No. 8) for soprano accompanied by muffled drums and muted horns and strings: intriguing and lovely both. Almost as interesting is the aria (No. 21) for alto, which features a plaintive chalumeau solo.

The later pages are dominated by the chorales that also dominate Bach's cantatas and which allowed for communal singing by the congregation. Good for the listeners of Telemann's day, though a rousing Handelian finale would perhaps have given the piece more of a chance for a place in the concert hall. But there's enough good music throughout to celebrate its appearance on CD.

The performance by the very fine Hannover Hofkappele and Collegium Vocale Siegen is both spirited and affecting, and except for the rather unlovely soprano of Monika Mauch, the soloists are good as well. Excellent recorded sound from a church in Siegen, Germany. The acoustic lends glamour without obscuring detail; everything is clear as the proverbial mountain stream. An important addition to the burgeoning Telemann discography.

Prism The Choral Artistry of Gloriae Dei Cantores

Average customer rating:

Prism The Choral Artistry of Gloriae Dei Cantores

Manufacturer: Gloriae Dei Cantores
ProductGroup: Music
Binding: Audio CD

Classical | Indie Music | Stores | Music

General | Classical | Styles | Music
ASIN: B00017BOHK
Release Date: 2003-08-15

Tracks:

Let All the World in Every Corner Sing Dominick Argento
Super Babylonis (from Giovanni Pierluigi da Palestrina GDCD 106) Giovanni Pierluigi da Palestrina
Hark, I Hear the Harps Eternal (from Appalachian Sketches GDCD 31) arr. Alice Parker
Tristis est anima mea (from Edmund Rubbra GDCD 24) Edmund Rubbra
I Will Set His Dominion in the Sea (from The Lord is My Shepherd GDCD 30) Bruce Neswick
The Eyes of All Wait Upon Thee (from By the Rivers of Babylon GDCD 27) Jean Berger
Missa Brevis: Gloria (from The Doctrine of Wisdom GDCD 26) William Mathias
Mass In E-Flat Major: Agnus Dei (Josef Gabriel Rheinberger GDCD 108) Josef Rheinberger
Psalms of Woe and Joy: Hodu (Glory to the Lord) (from Make His Praise Glorious GDCD 25) Robert Starer
Heilig (from Mendelssohn and Brahms GDCD 107) Felix Mendelssohn
Rex gloriae: Victimae paschali (from The Doctrine of Wisdom GDCD 26) William Mathias
Rorate Caeli (Motet Masters of the Renaissance) Francisco Guerrero
Bogoroditse Devo (from Sacred Songs of Russia GDCD 100) Sergei Rachmaninoff
Foundation (from Appalachian Sketches GDCD 31) arr. Alice Parker
My Shepherd Will Supply My Need (from Aaron Copland and Virgil Thompson GDCD 29) Virgil Thompson
Liubov Sviataya (from Sacred Songs of Russia GDCD 100) Georgy Sviridov
Es ist das Heil uns kommen her (from Mendelssohn and Brahms GDCD107) Johannes Brahms
Ching-a-ring-chaw (from Aaron Copland and Virgil Thompson GDCD 29) Aaron Copland (arr Irving Fine)
Eternal Light (Be Glad then America GDCD 08) Leo Sowerby

Album Description

Prism features a diverse selection of works handpicked by the artists for the luminous, magical presence that Gloriae Dei Cantores imparts. Whether modern American styles, sacred Russian music or the magnificence of Palestrina, the choir has perfected every nuance while retaining the soul of each work.

Tracks:

Lieder, Vol. I: Leichenfantasie D. 7
Lieder, Vol. I: Der Vatermr D. 10
Lieder, Vol. I: Der Jg am Bache D. 30
Lieder, Vol. I: Totengrrlied D. 44
Lieder, Vol. I: Die Schatten D. 50
Lieder, Vol. I: Sehnsucht D. 52 - Ach, aus dieses Tales Grunden
Lieder, Vol. I: Verklng D. 59
Lieder, Vol. I: Pensa, che questo istante D. 76
Lieder, Vol. I: Der Taucher D. 77
Lieder, Vol. I: Andenken D. 99
Lieder, Vol. I: Geistern D. 100
Lieder, Vol. I: Erinnerung (Totenopfer) D. 101

Tracks:

Lieder, Vol. I: Trost. An Elisa D. 97
Lieder, Vol. I: Die Betende D. 102
Lieder, Vol. I: Lied aus der Ferne D. 107
Lieder, Vol. I: Der Abend D. 108 - Purpur malt die Tannenhugel
Lieder, Vol. I: Lied der Liebe D. 109
Lieder, Vol. I: Erinnerungen D. 98
Lieder, Vol. I: Adelaide D. 95
Lieder, Vol. I: An Emma D. 113
Lieder, Vol. I: Romanze D. 114 - Ein Fraulein klagt'im finstern Turm
Lieder, Vol. I: An Laura, als sie Klopstocks Auferstehungslied sang D. 115
Lieder, Vol. I: Der Geistertanz D. 116
Lieder, Vol. I: Das Mhen aus der Fremde D. 117
Lieder, Vol. I: Nachtgesang D. 119 - O gib, vom weichen Pfuhle
Lieder, Vol. I: Trost in Trn D. 120
Lieder, Vol. I: Schrs Klagelied D. 121
Lieder, Vol. I: Sehnsucht D. 123 -Was zieht mir das Herz so?
Lieder, Vol. I: Am See D. 124 - Sitz' ich im Gras
Lieder, Vol. I: Auf einen Kirchhof D. 151
Lieder, Vol. I: Als ich sie err sah D. 153
Lieder, Vol. I: Das Bild D. 155
Lieder, Vol. I: Der Mondabend D. 141
Lieder, Vol. I: Loda Gespenst D. 150

Tracks:

Lieder, Vol. I: Der Ser D. 149
Lieder, Vol. I: Die Erwartung D. 159
Lieder, Vol. I: Am Flusse D. 160
Lieder, Vol. I: An Mignon D. 161
Lieder, Vol. I: N des Geliebten D. 162
Lieder, Vol. I: Sers Morgenlied D. 165
Lieder, Vol. I: Amphiaros D. 166
Lieder, Vol. I: Das war ich D. 174
Lieder, Vol. I: Die Sterne D. 176 - Was funkelt ihr so mild mich an
Lieder, Vol. I: Vergebliche Liebe D. 177
Lieder, Vol. I: Liebesrausch D. 179
Lieder, Vol. I: Sehnsucht der Liebe D. 180
Lieder, Vol. I: Die erste Liebe D. 182
Lieder, Vol. I: Trinklied D. 183 - Ihr Freunde und du, gold'ner Wein
Lieder, Vol. I: Stimme der Liebe D. 187 - Abendgewolke schweben hell
Lieder, Vol. I: Naturgenuss D. 188
Lieder, Vol. I: An die Freude D. 189
Lieder, Vol. I: Der Jg am Bache D. 192
Lieder, Vol. I: An den Mond D. 193 - Geuss, lieber Mond
Lieder, Vol. I: Die Mainacht D. 194
Lieder, Vol. I: An die Nachtigall D. 196 - Geuss nicht so laut
Lieder, Vol. I: An die Apfelbe, wo ich Julien erblickte D. 197
Lieder, Vol. I: Seufzer D. 198
Lieder, Vol. I: Liebestelei D. 206

Tracks:

Lieder, Vol. I: Der Liebende D. 207
Lieder, Vol. I: Der Traum D. 213
Lieder, Vol. I: Die Laube D. 214
Lieder, Vol. I: Meeres Stille D. 216
Lieder, Vol. I: Grablied D. 218
Lieder, Vol. I: Das Finden D. 219
Lieder, Vol. I: Wandrers Nachtlied D. 224 - Der du von dem Himmel bist
Lieder, Vol. I: Der Fischer D. 225
Lieder, Vol. I: Erster Verlust D. 226
Lieder, Vol. I: Die Erscheinung D. 229
Lieder, Vol. I: Die Tchung D. 230 - Im Erlenbusch, im Tannenhain
Lieder, Vol. I: Der Abend D. 221 - Der Abend bluht
Lieder, Vol. I: Geist der Liebe D. 233 - Wer bist du, Geist der liebe
Lieder, Vol. I: Tischlied D. 234
Lieder, Vol. I: Der Liedler D. 209
Lieder, Vol. I: Ballade D. 134
Lieder, Vol. I: Abends unter der Linde D. 235
Lieder, Vol. I: Die Mondnacht D. 238
Lieder, Vol. I: Huldigung D. 240
Lieder, Vol. I: Alles um Liebe D. 241
Lieder, Vol. I: Das Geheimnis D. 250 - Sie konnte mir kein Wortchen sagen
Lieder, Vol. I: An den Fr D. 245 - Wilkommem, schoner Jungling
Lieder, Vol. I: Die Baft D. 246

Tracks:

Lieder, Vol. I: Der Rattenfer D. 255
Lieder, Vol. I: Der Schatzgrr D. 256
Lieder, Vol. I: Heidenrin D. 257
Lieder, Vol. I: Bundeslied D. 258
Lieder, Vol. I: An den Mond D. 259 - Fullest wieder Busch und Tal
Lieder, Vol. I: Wonne der Wehmut D. 260
Lieder, Vol. I: Wer kauft Liebesgr? D. 261
Lieder, Vol. I: Der Goldschmiedsgesell D. 560
Lieder, Vol. I: Der Morgenkuss D. 264
Lieder, Vol. I: Abendstchen. An Lina D. 265
Lieder, Vol. I: Morgenlied D. 266 - Wilkommen, rotes Morgenlicht
Lieder, Vol. I: Der Weiberfreund D. 271
Lieder, Vol. I: An die Sonne D. 272 - Konigliche Morgensonne
Lieder, Vol. I: Tischlerlied D. 274
Lieder, Vol. I: Totenkranz f Kind D. 275
Lieder, Vol. I: Abendlied D. 276 - Gross und rotentflammet
Lieder, Vol. I: Die Frchkeit D. 262
Lieder, Vol. I: Lob des Tokayers D. 248
Lieder, Vol. I: Furcht der Geliebten D. 285
Lieder, Vol. I: Das Rosenband D. 280
Lieder, Vol. I: An Sie D. 288
Lieder, Vol. I: Die Sommernacht D. 289
Lieder, Vol. I: Die frrr D. 290
Lieder, Vol. I: Dem Unendlichen D. 291
Lieder, Vol. I: Ossians Lied nach dem Falle Nathos' D. 278
Lieder, Vol. I: Das Mhen von Inistore D. 281
Lieder, Vol. I: Labetrank der Liebe D. 302
Lieder, Vol. I: An die Geliebte D. 303
Lieder, Vol. I: Mein Gruss an den Mai D. 305
Lieder, Vol. I: Skolie D. 306 - Lasst im Morgenstrahl des Mai'n
Lieder, Vol. I: Die Sternenwelten D. 307
Lieder, Vol. I: Die Macht der Liebe D. 308
Lieder, Vol. I: Das gest Gl 309
Lieder, Vol. I: Die Sterne D. 313
Lieder, Vol. I: Nachtgesang D. 314 - Tiefe Feier schauert um die Welt
Lieder, Vol. I: An Rosa I D. 315 - Warum bist du nicht hier
Lieder, Vol. I: An Rosa II D. 316 - Rosa, denkst su an mich?
Lieder, Vol. I: Schwangesang D. 318 - Endlich steh'n die Pforten offen

Tracks:

Der Zufriedene D. 320
Liane D. 298
Augenlied D. 297
Geistes-Gruss D. 142
Hoffnung D. 295 - Schaff', das Tagwerk meiner Hande
An den Mond D. 296 - Fullest wieder Busch und Tal
Rastlose Liebe D. 138
Erlk D. 328
Der Schmetterling D. 633
Die Berge D. 634
Geneit D. 143
An die Natur D. 372
Klage D. 371
Morgenlied D. 381 - Dic frohe neubelebte Flur
Abendlied D. 382 - Sanft glanzt die Abendsonne
Der Flng D. 402
Laura am Klavier D. 388
Entz an Laura D. 390
Die vier Weltalter D. 391
Pfled D. 392
Die Einsiedelei D. 393
An die Harmonie D. 394
Die Herbstnacht (Die Wehmut) D. 404
Lied D. 403 - Ins stille Land
Der Herbstabend D. 405
Der Entfernten D. 350
Fischerlied D. 351
Sprache der Liebe D. 410
Abschied von der Harfe D. 406

Tracks:

Lieder, Vol. I: Stimme der Liebe D. 412 - Meine Selinde
Lieder, Vol. I: Entz D. 143
Lieder, Vol. I: Geist der Liebe D. 414 - Der Abend schleiert Flur und Hain
Lieder, Vol. I: Klage D. 415 - Die Sonne steigt, die Sonne sinkt
Lieder, Vol. I: Julius an Theone D. 419
Lieder, Vol. I: Klage D. 436 - Dein Silber schien durch Eichengrun
Lieder, Vol. I: Frlied D. 398 - Die Luft ist blau
Lieder, Vol. I: Auf den Tod einer Nachtigall D 399
Lieder, Vol. I: Die Knabenzeit D. 400
Lieder, Vol. I: Winterlied D. 401
Lieder, Vol. I: Minnelied D. 401
Lieder, Vol. I: Die frebe D. 430
Lieder, Vol. I: Blumenlied D. 431
Lieder, Vol. I: Der Leidende D. 432
Lieder, Vol. I: Seligkeit D. 433
Lieder, Vol. I: Erntelied D. 434
Lieder, Vol. I: Das grosse Halleluja D. 442
Lieder, Vol. I: Die Gestirne D. 444
Lieder, Vol. I: Die Liebesgr D. 446
Lieder, Vol. I: An den Schlaf D. 447
Lieder, Vol. I: Gott im Fre D. 448
Lieder, Vol. I: Der gute Hirt D. 449
Lieder, Vol. I: Die Nacht D. 358 - Du verstorst uns nicht
Lieder, Vol. I: Fragment aus dem Aeschylus D. 450
Lieder, Vol. I: An die untergehende Sonne D. 457
Lieder, Vol. I: An mein Klavier D. 342
Lieder, Vol. I: Freude der Kinderjahre D. 455
Lieder, Vol. I: Das Heimweh D. 456 - Oft in einsam stillen Stunden
Lieder, Vol. I: An den Mond D. 468 Was schauest du so hell
Lieder, Vol. I: An Chloen D. 462 Bei der Liebe reinsten Flammen
Lieder, Vol. I: Hochzeit-Lied D. 463
Lieder, Vol. I: In der Mitternacht D. 464
Lieder, Vol. I: Trauer der Liebe D. 465
Lieder, Vol. I: Die Perle D. 466

Tracks:

Lieder, Vol. I: Liebesend D. 473
Lieder, Vol. I: Orpheus D. 474
Lieder, Vol. I: Abschied D. 475
Lieder, Vol. I: R D. 476
Lieder, Vol. I: Alte Liebe rostet nie D. 477
Lieder, Vol. I: Harfenspieler I D. 478
Lieder, Vol. I: Harfenspieler III D. 480
Lieder, Vol. I: Harfenspieler II D. 479
Lieder, Vol. I: Der K in Thule D. 367
Lieder, Vol. I: Jrs Abendlied D. 368
Lieder, Vol. I: An Schwager Kronos D. 369
Lieder, Vol. I: Der Ser am Felsen D. 482
Lieder, Vol. I: Lied D. 483
Lieder, Vol. I: Der Wanderer D. 493
Lieder, Vol. I: Der Hirt D. 490
Lieder, Vol. I: Lied eines Schiffers an die Dioskuren D. 360
Lieder, Vol. I: Geheimnis D. 491
Lieder, Vol. I: Zum Punsche D. 492
Lieder, Vol. I: Am Bache im Fre D. 361
Lieder, Vol. I: An eine Quelle D. 530
Lieder, Vol. I: Bei dem Grabe meines Vaters D. 496
Lieder, Vol. I: Am Grabe Anselmos D. 504
Lieder, Vol. I: Abendlied D. 499
Lieder, Vol. I: Zufriedenheit D. 362

Tracks:

Lider, Vol. I: Herbstlied D. 502 - Bunt sind schon die Walder
Lider, Vol. I: Skolie D. 507 - Madchen entsiegelten, Bruder, die Flaschen
Lider, Vol. I: Lebenslied D. 508
Lider, Vol. I: Leiden der Trennung D. 509
Lider, Vol. I: Alinde D. 904
Lider, Vol. I: An die Laute D. 905
Lider, Vol. I: Frohsinn D. 520
Lider, Vol. I: Die Liebe D. 522 - Wo weht der Liebe hoher Geist?
Lider, Vol. I: Trost D. 523 - Nimmer lange weil'ich hier
Lider, Vol. I: Der Schr und der Reiter D. 517
Lider, Vol. I: Lob der Trn D. 711
Lider, Vol. I: Der Alpenjr D. 524
Lider, Vol. I: Wie Ulfru fischt D. 525
Lider, Vol. I: Fahrt zum Hades D. 526
Lider, Vol. I: Schlaflied D. 527
Lider, Vol. I: Die Blumensprache D. 519
Lider, Vol. I: Die abgeblinde D. 514
Lider, Vol. I: Der Flug der Zeit D. 515
Lider, Vol. I: Der Tod und das Mhen D. 531
Lider, Vol. I: Das Lied vom Reifen D. 532
Lider, Vol. I: Tich zu singen D. 533
Lider, Vol. I: Am Strome D. 539
Lider, Vol. I: Philoktet D. 540
Lider, Vol. I: Memnon D. 541
Lider, Vol. I: Auf dem See D. 543
Lider, Vol. I: Ganymed D. 544
Lider, Vol. I: Der Jg und der Tod D. 545
Lider, Vol. I: Trost im Liede D. 546

Customer Reviews:

An encyclopedic collection of Schubert songs by a singer and pianist with encyclopedic knowledge of Schubert songs.......2005-10-25

I bought this collection from a mail order firm in 1993, and can only call it "an encyclopedic collection of Schubert songs by a singer and pianist with an encyclopedic knowledge of Schubert songs."

I don't listen to these discs track to track, but rather selected tracks and keep this 9 disc set in my collection as an encyclopedia, for reference, rather than to listen to for hours on end.

This collection doesn't contain any of the 3 great Schubert song cycles: "Schwanengesang", "Die Schone Mullerin", or "Winterreise." Most of these songs are less than 5 minutes in length, but some are as long as 20 minutes, with Recitative/Aria/Recit./Aria pattern. Each disc is 70 minutes or more, making for a lot of music. Going dollar for music, it's a good deal!

I am very thankful for this release. Dietrich Fischer-Dieskau (born 1925) seemed inexhaustable, making many lieder and opera recordings in the late 1960s/early 70s when these recordings were made for DG. His partnership with pianist Gerald Moore lasted many years, and they recorded many of these same lieder for EMI.

I won't attempt to go into detail describing different songs in this large collection, but if you love great singing and Schubert lieder, consider this as an investment in eternity. If you only want a disc of "Greatest hits" of this genre, consider the DG "Originals" release of Fischer-Dieskau with both Gerald Moore and Jorg Demus in different tracks.

You can tell I'm biased in favor of Herr Fischer-Dieskau and his singing, which is always beautiful here. I also love Schubert as sung by Hermann Prey (1929-1998): Philips Eloquence, and Decca (deleted); Janet Baker (Hyperion, with Graham Johnson); and Hans Hotter (EMI, with "Schwanengesang.")

Make up your mind to this journey........2001-02-07

Since this set of Schubert lieder (3 boxes, 21 cds in all) has become a legedary classic, I don't think I should make any comment. But just a suggestion to those who want to embark on these discs.

Make up your mind on this journey. On facing such a tome record arranged and sung chronically, it's useless and wrong only to listen to some famous lieder or discs or just listen randomly. You should spare a long period of time, begin by listening from the very first disc to the last disc. And, during the period do not listen to any lied of other composers. Then gradually, lied by lied, disc by disc, you will forget this is Fischer-Diskau and Moore---This is a real life of a great soul! You are really touching and breathing with a great soul! Feel the sound of schubert, feel his struggle, his emotion, his feeling, his hate and love. Feel how those youthful spontaneous and raw lieder gradually developed into fully ripened masterpieces. Such wonderful experience belongs only to really patient listeners.

It took me about 2 full weeks to listen to the whole 21 discs. Fischer-Diskau and Moore chose the "Abschied(Farewell)" to be the last lieder read (this song happened to be the only lied of Schubert to be recite with piano accompaniment, and which was composed during his final years). Thus the whole hundreds of lieder, or the whole life of Schubert, ended on this lied, farewell to the earth. It began with "Leb wohl, du schoene Erde (Goodbye, you beautiful Earth)". I will forever remember when I finally came into this lied, on the first words of Diskau's "Leb wohl, du schoene Erde" I trembled and cried from the very first note to the last note. My god, it's untouchable granduer.

Make up your mind to this journey........2001-02-07

Since this set of Schubert lieder (3 boxes, 21 cds in all) has become a legedary classic, I don't think I should make any comment. But just a suggestion to those who want to embark on these discs.

Music Review:

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