Harmonie

Track Listings

1. Cinco Caprichos sobre Cervantes - Don Quijote

2. Cinco Caprichos sobre Cervantes - Sancho Panza

3. Cinco Caprichos sobre Cervantes -Dulcinea

4. Cinco Caprichos sobre Cervantes -Lucha con los Molinos

5. Cinco Caprichos sobre Cervantes - La Muerte

6. Suite in D Major - Con Moto

7. Suite in D Major- Andante

8. Suite in D Major - Allegretto

9. Suite in D Major - Vivace

10. Harmonie

11. Suite in G Major - Prelude

12. Suite in G Major - Allemande

13. Suite in G Major - Courante

14. Suite in G Major - Sarabande

15. Suite in G Major - Gavotte I and II

16. Suite in G Major - Gigue

Editorial Reviews
About the Artist
John Graham, violist, has performed as soloist and in chamber music ensembles in the United States, Canada, Europe, Japan, China and Korea. He has performed as guest artist with the American,Ying, Mendelssohn, Juilliard, Tokyo, and Guarneri String Quartets, and the Kalichstein-Laredo-Robinson Trio. In the United States, he has participated in the Marlboro Music Festival, the Santa Fe Chamber Music Festival, Musicorda Festival and the Heifetz Institute. He has also performed for the Kuhmo Festival in Finland and Les Semaines Musicales in France. He is currently an Artist –Faculty member of the Aspen Music Festival and School and is Professor of Viola at the Eastman School of Music of the University of Rochester. He has been a guest-professor at the Central Conservatory of Music in Beijing, the Shanghai Conservatory and Kunitachi College in Tokyo,

Album Description
Traditional and tradition-denying music appear side by side on this recording of works for the solo viola and viola and electronics, performed by one of the leading interpreters of music for the viola over the past several decades. Music by Reutter, Reger, McGauhey and Bach "A dichotomy between old and new in music has never made much sense to me. My ability to understand many kinds of music has been honed by my interest in many kinds of music. Participation in the history of the viola means, quite simply, keeping the instrument alive in one's own era." -John Graham

Tracks:

Vasnier Songbook: I. Pantomime
Vasnier Songbook: II. Calmes dans le demi-jour (En sourdine)
Vasnier Songbook: III. Mandoline
Vasnier Songbook: IV. Clair de lune
Vasnier Songbook: Fantoches
Vasnier Songbook: VI. Coquetterie posthume
Vasnier Songbook: VII. Romance - Silence ineffable
Vasnier Songbook: VIII. Musique
Vasnier Songbook: X. Paysage sentimental
Vasnier Songbook: X. Romance - Voici que le printemps
Vasnier Songbook: XI. La Romance d'Ariel
Vasnier Songbook: XII. Regret
Forgotten Melodies: I. C'est l'extase langoureuse
Forgotten Melodies: II. Il pleure dans mon coeur
Forgotten Melodies: III. L'ombre des arbres
Forgotten Melodies: IV. Chevaux de bois
Forgotten Melodies: V. Green (Aquarelle)
Forgotten Melodies: VI. Spleen (Aquarelle)
Five Poems Of Charles Baudelaire: I. Le Balcon
Five Poems Of Charles Baudelaire: II. Harmonie du soir
Five Poems Of Charles Baudelaire: III. Le Jet d'eau
Five Poems Of Charles Baudelaire: IV. Recueillement
Five Poems Of Charles Baudelaire: V. La Mort des amants

Customer Reviews:

Classic Art Songs Sung with Brilliance and Artistry.......2006-11-10

Dawn Upshaw possesses a voice with beautiful bell canto tonal quality and uses the glissando technique, only when effective, rendering this collection of uncommon art songs superbly sung. The entire album is a joy to listen to...

Pretty, but not memorable.......2006-04-29

'Forgotton Songs, Dawn Upshaw sings Debussy' with James Levine at the piano is, to my layman's ear, very pretty to listen to, but not a whole lot to get excited about. If you are especially fond of Upshaw, you must have this recording. If you are especially fond of Debussy, other vocalists may have just a little more to offer. Everything about this recording is 'nice', just not a whole lot to get excited about.

Returning to the Recital Hall: A Soiree.......2005-04-09

Dawn Upshaw is one of the most intelligent and creative and adventuresome singers on the concert stage today. Just reviewing the list of her recordings available and it is obvious that she has paid attention to both contemporary and established composers in a way that is truly refreshing.

Here the program is devoted to the works of Claude Debussy, a composer for whom Upshaw has a particular penchant. Her voice is crystal clear, perfectly focused and yet not afraid to animate when the lyrics demand. She covers three cycles here: 'Ariettes oubliees' (for this listener the most successful on the album), 'Racueil Vasnier', and 'Cinq Poemes de Charles Baudelaire' (contrast these with the recently released Susan Graham version and see what interpretation is all about!).

The collaboration between Upshaw and James Levine is sensitive (if not always the pianism of others..). But the entire recital is uplifting and satisfying for the variation in the songs, recorded sound, the generosity of the disc, and most of all for the musical intelligence in which these songs are performed! Grady Harp, April 05

Pretty sound spoiled by a bad vocal habit.......2004-05-07

Every voice teacher I have ever had, and I have had many, were unanimous in their advice that sliding into notes is something that must be done with great moderation. Dawn Upshaw does it all the time and to the ears of a trained singer it becomes extremely annoying extremely quickly. Constant sliding into notes is less objectionable if one actually reaches the right pitch in the process. Miss Upshaw frequently does NOT, resulting in numerous instances where she is simply not in tune at all on some notes. Her sliding also creates constant dissonances with the piano which are entirely undebussyesque. If it were Webern or Berg she were singing she might get away with it. Here she does not. NOT RECOMMENDED.

P.S. Since writing this review (quite some time ago), I was fortunate to hear a recording of Ms. Upshaw in a production at the Metropolitan Opera where she didn't do any of her annoying sliding at all - not once - (probably because it was music from a much earlier time) The difference was astounding. It was a glorious performance. It was hard to believe it was the same person. This, more than ever, confirms my opinion that she ruined this recording with a bad singing habit.

Excellent!.......2003-11-26

This recording of Debussy's Melodies are really excellent. Dawn Upshaw's voice is exactly right for this kind of music - light, charming, and lyrical, with real sensitivity to the text. The Ariettes Oubliees are the best I've heard, with the exception of Frederica von Stade. In addition, her interpretation of Mandoline from the Vasnier Songbook is perfect - the tempo, piano, voice, and interpretation are exactly right. My only criticism is that the diction, while perfectly clear, has an "American" accent that is sometimes distracting.

Average customer rating:

A Thousand and One Nights with Susan Graham
A Superb Graham Enwrapped in Unwavering Romanticism
For the Sheer Luxury of Beauty of Voice and Technique!

Poèmes de l'Amour

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007GADUY
Release Date: 2005-03-29

Tracks:

I. La Fleur Des Eaux
Interlude
II. La Mort De L'amour
I. Asie
II. La Flute Enchantee
III. L'Indifferent
I. Le Balcon
II. Harmonie Du Soir
III. Le Jet D'eau
IV. Recueillement

Customer Reviews:

A Thousand and One Nights with Susan Graham.......2005-05-11

First off, let me declare that I am in thrall to Susan Graham's voice -- it is one of the most beautiful of our age, a rich sound that the singer deploys with sensitivity and intelligence and admirable technique. Sheer beauty -- feminine, alluring, caressing, velvety but clear-textured. That coupled with her immaculate French and communicative style make her all but infallible in my book. If I give this recording less than five stars, it may because I am less in sympathy with the lush romanticism of the material. However, I do have a couple of observations about the performances.

On this recording, Graham does a stellar job of illuminating the emotions of the songs almost purely through vocal coloring rather than by characterization. For the Chausson (Poème de l'amour et de la mer), I will say that approach is 100 percent successful. It has to be one of the supreme performances of this vocal tone poem ever captured on disc. Her passion and heartbreak are thrilling.

However, for the Ravel (especially the second and third songs) and for the Debussy, I wish Graham had been a shade more assertive in her interpretations. I think the first song of Shéhérazade can succeed as a swooning travelogue on the high seas -- very much along the same lines as the Chausson -- but the last stanza is a return to more personal story-telling, which should be sustained through the second and third songs. This is a lovely performance, no doubt about it, but Graham's instrument is one of such innate beauty that she can well afford to let her hair down, interpretively, a little more. I would make the same suggestion for the Debussy.

The orchestra, especially in the Chausson, is exemplary. For all the sweeping romanticism, the orchestra shows great subtlety in bringing out the rhythms, dynamics, and intrumental lines. I only wished for a slight bit of rubato at the beginning of the finale of the Chausson (the song "Le temps des lilas" that ends the last movement) -- but in French music understatement is seldom to be discouraged. Following Chausson's Wagnerian drama immediately with the rapturous Shéhérazade, however, was not to advantage. Agreed, ending with the Debussy was advisable, but a palette cleanser is definitely needed between the Chausson and Ravel and the disc length allows for an additional fifteen minutes of music. If nothing else, an instrumental work could have been inserted here -- or a vocalise or two!

Graham's vocal production is well-nigh perfect. She neither hides behind the orchestra nor rides it -- the balance is perfectly judged and natural-sounding. Her facility in French means that you have none of those jarring moments that infect the performances of some other non-native singers. My only complaint in terms of her vocalism is that too often Graham attacks her high, climactic notes just under the proper dynamic and swells. It isn't unattractive, but on repetition it did become distracting -- especially the word "haine" ("hatred") at the climax of Asie, which should be attacked head-on.

The unusual coupling with Debussy -- four of the five Poèmes de Charles Baudelaire -- is most welcome. These orchestrations by John Adams are effective, especially the last song (Recueillement). However, they would have worked even better if the orchestrations had less Chausson and Ravel and more Debussy. I also wonder if scoring for a smaller chamber ensemble might have allowed more of that Debussyan quality of limpid mystery. But my quibbles are infinitessimal and I think these orchestrations will be welcome additions to the repertory.

Make no mistake -- this is a fabulous record! One can bathe in its lushness for a good hour without tiring of Graham's voice, and come back for more! My reservations are matters of my personal taste in art song performance, and even by those standards the room for improvement is slender.

A Superb Graham Enwrapped in Unwavering Romanticism.......2005-04-23

Mezzo-soprano Susan Graham gave an impressive performance last year as Dido, capturing the woman behind the mythical figure with measured fervor, among a heady group of singers on last year's superb ensemble recording of Emmanuelle Haïm's production of Purcell's "Dido and Aeneas". In this solo outing, she displays the same dramatic acumen and showcases her lustrous voice with a full-bodied French repertoire which features selections from Chausson, Ravel and Debussy. The result certainly reflects the same exclusive talent pool as the recent stellar recordings of French compositions by rising tenor Rolando Villazón on his "Gounod/Massenet Arias" and the exquisite countertenor David Daniels on his "Berlioz: Les Nuits d'Été".

Where Graham falls somewhat short among this league is in the relative sameness of the program, which reflects a conscious decision to explore the more serious Belle Epoque fare for soprano and orchestra. Granted all three song cycles are lovely and sonorous, but together the variety seems lacking for a singer of Graham's caliber, and one ends up missing a lighter touch to offset the somber tone. Things start promisingly with Ernest Chausson's "Poèmes de l'amour et de la mer", a luscious work that evokes an engaging seductive power over a wide range of emotions. It also includes a soaring dream-like interlude. Maurice Ravel's "Shéhérazade," is performed colorfully with a swooning sense of epic melodrama that wouldn't sound out of place in a 1950's Douglas Sirk movie. John Adams contributed the hushed orchestrations for four of Claude Debussy's set of "Cinq Poèmes de Charles Baudelaire" presented here, all performed languorously with a discernible sense of longing. One or two lighter chansons could have lightened this program considerably, and they would have been welcome. Also, at certain moments, the sound feels heavily overproduced. Regardless, Graham is among the finest singers today and always a treat to hear and appreciate and she is supported in a most atmospheric fashion by the BBC Symphony Orchestra led by conductor Yan Pascal Tortelier.

For the Sheer Luxury of Beauty of Voice and Technique!.......2005-03-30

Susan Graham continues to grow as an artist, both in her inimitable operatic performances but especially in her warmly human and bracingly communicative recitals with piano collaboration. With this very beautiful recording of songs cycles by Chausson, Ravel and Debussy she combines the two - operatic and recital - and the result is some of the most stunning collaborations with voice and orchestra on CD today. Gush? Well, just listen to this well-conceived disc and try to escape the trance of enchantment.

The Chausson 'Poeme de l'amour et de la mer' is a series of heavily orchestrated songs whose protagonist is a young man who meets and falls in love with a girl and returns a year later to discover the girl no longer is moved by him - not unlike the doubt, lust, longing and memory of Resnais' film 'Last Year at Marienbad'. Graham communicates the longing and ecstasy and ultimate devastation of the young man with intense feeling and gorgeous rich sound. Yan Pascal Tortelier conducts the BBC Symphony Orchestra with sonorous swells of sound that never bury the voice and never completely give in to the excesses in Chausson's writing.

Best known of the works on this recording is the 'Sheherazade ' of Maurice Ravel. Here, moving among the three songs well known to every concertgoer, Graham demonstrates her seamless range of tone and color: though a mezzo-soprano by range she transports her gorgeous instrument into the realm of soprano with complete ease. Her French diction is perfect and she makes the poems come alive. If this reading does not erase all memories of such singers as Regine Crespin or Victoria de los Angeles as far as breathy French sensuousness, the uncanny beauty of her sound and her immersion in the texts creates a new standard. 'La Flute enchantee' is from another place of rarefied air!

The Debussy songs 'Le Livre de Baudelaire' are here performed with a new orchestration by contemporary composer John Adams! And if you fear that may be an incongruous pairing then fear not. The orchestral writing is in total sync with Debussy's haunting line. Graham again delivers lush, creamy tone with a true 'French sound'. It simply works.

Apart from the beauty of Susan Graham's artistry and Tortelier's sensitive collaboration the major contribution of this recording is in the thoughtful programming - three cycles by three French composers whose lives overlapped. This is the degree of challenging and rewarding ventures that will maintain the importance of classical music recordings. Highly Recommended. Grady Harp, March 05

Average customer rating:

Danger, danger - too tempting..!
Music of angels

Harmonie Universelle
Anonymous , Sephardic Traditional , Cancionero de Montecassino , Clement Woodcock , Mallorcan Anonymous , Josquin Desprez , Antony Holborne , Jose Marin , Marin Marais , Nicolo Fontei , Johann Sebastian Bach , Juan Bautista Jose Cabanilles , Heinrich Ignaz Franz von Biber , Jean-Baptiste Lully , Jordi Savall , Montserrat Figueras , Pedro Estevan , Adela Gonzalez-Campa , Rolf Lislevand , and Ton Koopman
Manufacturer: Alia Vox
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005AU4N
Release Date: 2001-04-10

Customer Reviews:

Danger, danger - too tempting..!.......2006-08-08

No, it's not a bad review.. But don't buy this disc unless you want to get sucked in to a wonderful world of new musical experiences.

It's a clever 'taster' disc that contains some wonderful, intriguing and diverse muscial pieces by jordi and his various ensembles, one or two tracks each from various discs he has made for his label Alia vox. There are the sombre viol pieces, the 'swinging' ensemble tunes, then the haunting pieces by Figuerras (- for me the Sephardic ones especially).

At first I had my few favorites, then I realised that I was beginning to like everything on the disc, then I was in love with some of the pieces because the sound was so delicious and foreign and exciting, and I had to hear more..

At first I wondered why this was such a cheap disc, but it wasn't really cheap - I have now bought eight other savall discs, all because of this one, and no, I haven't been disappointed.

You have been warned.

Music of angels.......2003-12-04

This disc features a variety of players or groups and individuals, including several of my favorites within this genre(time period music) such as Jordi Savall, Hesperion XX and Montserrat Figueras. The music was recorded between 1998-2001. Being relatively uninformed I can testify to the beauty of the timeless music from the ordinary perspective of an outsider to this type of music. My knowledge base is ziltch for time period music but I do know what I like and the music sends my spirit soaring. This is joyful, tranquil music that transcends musical timelines and boundaries infecting the listener with a feeling of peace. Some of the music is written by annoymous authors, much like the beautiful pieces of art you might see in a museum with only the tag of artist unknown, while some is written, in contrast, by well known composers like J.S. Bach. The music has a religious quality, very much like music performed on sacred days in ancient times. One particular song that has the qualities just mentioned is "Alfons V El Magnanim" that is performed twice(as nice) in succession in a slightly different manner. The second version features the lovely voice of Montserrat Figueras and all I can say is, it is exquisite. Her voice is featured on many of the songs and it is as though you are in cathedral and an angel has entered to take you on its wings. Some of the music was written as far back as the 1400's and you can only wonder how many souls this music has touched throughout the ages in one form or another. La Capella Reial De Catalunya further accentuates and compliments the textures by lending their collective voices to the lead vocals of Figueras. There are a variety of pieces or styles offered on this disc including some " Elizabethan Consort Music," a lovely piece by Le Consort Des Nations entitled "L'Orchestre Du Roi Soleil" and some music for the season. The soft, soothing qualities prevail throughtout the disc regardless of who is performing. The musical instruments are played enthusiastically, at times underemphasized but with an exuberance for the time period. If you are in the mood for some quiet music to fill you with joy than give this bargain disc a listen. The booklet is thick with a bilingual offering in English and French quotes but features very little information about the music featured on this particular disc. Instead the booklet is an offering of color photgraphs of the players in performance, including a beautiful portrait of husband and wife team Jordi Savall and Monsterrat Figueras as they are working together. By far the vast majority of the booklet is thirteen pages dedicated to other discs released by the featured performers and the instruments thay play such as harp, viola, lire, luth etc. Recommended music that reflects the season that has universal appeal and longevity. Running time is 78:37.

Average customer rating:

Very well done

Symphonic Jazz: Grofé & Gershwin

Manufacturer: Bridge
ProductGroup: Music
Binding: Audio CD

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ASIN: B000ION61S
Release Date: 2006-10-24

Customer Reviews:

Very well done.......2007-05-28

These are Whiteman band arrangements and they sound right in every way. The style is authentic and the playing is tops.

Average customer rating:

A Major Document of an Incredible Oeuvre...

Schubert: Lieder

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Release Date: 2005-12-13

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.
.

Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon

Average customer rating:

Hindemith conducts Hindemith
Hindemith continues the musical traditions of the Germanic schools
Phenomenal performances
Lean, clean and unadorned, as Hindemith intended
Hindemith Himself

Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
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Release Date: 2004-02-10

Customer Reviews:

Hindemith conducts Hindemith.......2006-11-10

The musician's musician, the most versatile, skilled and knowledgeable composer of the 20th Century can be heard with delight in this excellently remastered Deutsche Grammophon recording of him conducting the Berlin Phiharmonic Orchestra in definitive renditions of some of his own masterpieces. Hindemith by and large was the best interpreter of his own works. Under his direction pure, unadulterated, joyfull music-making of great vitality prevails, thoroughly unpedantic, yet devoid of vanity, pretentious display or exaggeration. The rendition of the Mathis Symphony is, of course, definitive and the nowadays most frequently perfomed Symphonic Metamorphosis is done with gusto. But we would like to call special attention to such an inexplicably neglected masterpiece as the thoroughly delightful, but substantial Symphonic Dances and the unique and profound Konzermusik for piano, brass & harp. What neo-Baroque, roaring twenties exhuberance displayed in the Concerto for Orchestra and what a gem of human insight "The Four Temperaments",
here definitively rendered! ER

Hindemith continues the musical traditions of the Germanic schools.......2006-08-19

Hindemith is a far too overlooked composer, and I daresay that in decades to come people will realize the greatness of his compositions, a Hindemith renaissance will take place. I for one enjoy his music greatly and this box set is a perfect introduction to his music. Contrapuntally Hindemith stands apart from most 20th composers, indeed his music speaks the 20th century idiom, however as one will recognize immediately Hindemith speaks his own language. In fact this composer is one of the most original of his time. Contrapuntally he continues and adds to the great traditions harkening back to the Renaissance. His conducting is no nonsense and gets to the heart of his music. I find this music to be riveting, exciting, intellectual and heartfelt. Hindemith has his place in Music history.

Phenomenal performances.......2006-03-07

Hindemith may not have been a Schoenberg or Stravinsky, but at his most inspired he was certainly way up there near the top of the heap, among the greatest composers of the late lamented 20th Century. What these recordings tell us, however, and to me this comes as something of a shock, is that he was also a truly great conductor. All the performances in this set are in my opinion truly extraordinary, among the very best orchestral performances I've ever heard -- of any music by any composer of any period.

Everything one would expect of a superlative performance is here, the tempi, the balances, the shadings, accents, nuance, intonation, attention to detail, attention to overall structure, sweep, authority, intensity, even expressiveness (YES, expressiveness!) and passion (yes, passion too).

To get a sense of how remarkable a conductor Hindemith is, listen carefully to the slow movement of Mathis. With tempi this slow (and this is the slowest I've heard for this piece, extremely slow), it's very difficult to maintain interest, not to mention control. However, in the hands of Hindemith and this remarkable orchestra, with whom he's obviously established an extraordinary rapport, the tempo works beautifully and the piece takes on an almost Mahlerian intensity I'd never heard before.

As if this weren't enough, the set contains one of the most remarkable pianistic performances I've ever heard, from Hindemith's composition student, Hans Otte. The "Four Temperaments" begins in typical middle period Hindemithian style, with a statement of the rather steady, bland and predictable theme, but with the entry of the piano for the first variation, all is transformed -- and suddenly we are back in the world of early Hindemith, one of the most inventive and masterful composers since Bach himself. The pianism is simply beyond belief here, just stunning in its verve, precision, virtuosity, nuance and phrasing. With the entry of the piano the piece just takes off, soars into the stratosphere, thanks to composer and pianist both. Otte was hand picked by Hindemith for this performance so possibly what we hear is at least in part due to careful coaching. But it's hard to understand how mere coaching could produce such marvels of nuance and such complete control of the instrument and total musical involvement in passage after passage. If you ever want to inspire a young performer with the possibilities of his art, you would do well to play your student this recording.

As for the more mundane details, even they are all good. The sonics are fantastic for a recording of this vintage, clear, even vibrant, with lots of body and power when called for. The orchestra itself is superb and in perfect rapport with its director. Even the piano selected for these recordings is a marvel, simply one of the finest instruments of its kind I've ever heard.

I know, it's easy to be skeptical in the face of all these superlatives, but I assure you I'm not usually this enthusiastic. These recordings truly are gems, trust me. HAH!

Lean, clean and unadorned, as Hindemith intended.......2006-02-04

Hindemith jumped at the chance to record his major works with Deutsche Grammophon when it was offered in the early 1950s.

First, was his theory of conducting. He felt the conductor should, as much as possible, be "transparent" and not add anything to the music, i.e., through not gesticulating (especially wildly), etc.

Second, he had seen and heard conductors do just that to his works. And he had heard this result in what he considered overconducting.

Now, that doesn't mean that Hindemith wanted some "native" style of conducting, or even people conducting his works as sight-reading exercises. He expected a piece to be properly understood so that such overconducting was unnecessary.

The result is to be heard here. Now, by "lean and clean," we're not not talking Boulez. But, compared to his day and age, to the Furtwaenglers and others, we are talking something almost that spare.

When you hear these CDs, you'll immediately understand why Hindemith thought that other composers made his music sound too muddy.

These are mono recordings, but in studio in the early and mid 1950s with the Berlin Philharmonic, the baseline sound quality was quite good and the CDs have been well-engineered.

This is an outstanding buy of a great 20th-century composer.

Hindemith Himself.......2005-02-24

"Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon" is another essential release in Universal's "Original Masters" series. This 3CD set features the composer himself conducting some of his best known works, including his two Symphonies, Symphonic Metamorphosis, Concerto for Orchestra, and Konzertmusik with Monique Haas on piano. All of the recordings hail from 1954-57 and while they are in mono, the DG sound is clear as a bell. Previously I owned a dozen or so CDs featuring various Hindemith works (performed by conductors Abbado, Bernstein, Blomstedt, Goossens, Kletzki, Kubelik, Szell, etc.), but only one with Hindemith himself conducting his own music (the Violin Concerto with David Oistrakh -- see my review). Well if you like a composer and have the ability to hear them conduct their own music, then you should do it, whatever the cost. I mean what would you give to have the opportunity to hear Beethoven or Mozart perform! Luckily in this case you don't have to fantasize, you just have to buy this affordable, budget-priced box set.

Average customer rating:

Beautiful
Not really a review, just filling in missing information

Hindemith: Orchestral Works

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000C6IW2
Release Date: 2004-03-09

Tracks:

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2. Grablegung
3. Versuchung Des Heiligen Antonius
1. Langsam/2. Ruhig Bewegt/3. Lebhaft/4. Marsch - Geraldine Walther
1. Allegro
2. Turandot, Scherzo: Moderato
3. Lebhaft
4. Sehr Langsam

Tracks:

1. Massig Schnell, Mit Kraft - Sehr Breit, Aber Stets Fliessend
Lebhaft - Langsam - Im Ersten Zeitmass
1. 'Zwischen Berg Und Tiefem Tal' - Geraldine Walther
2. 'Nun Laube, Lindlein, Laube!' - Geraldine Walther
3. Variations: 'Seid Ihr Nicht Der Schwanendreher?' - Geraldine Walther
1. Einleitung Und Rondo
2. Marsch Und Pastorale
3. Passacaglia

Tracks:

1. Moderately Fast
2. Geschwindmarsch By Beethoven, Paraphrase
3. Colloquy
4. Finale
1. Musica Instrumentalis
2. Musica Humana
3. Musica Mundana

Customer Reviews:

Beautiful.......2005-09-11

The Trio series is unquestionably, along with EMI's Gemini sets, one of the best available. This particular item is a complete set of Hindemith's orchestral works, and not only do we get full servings at over 60 minutes per CD, but you get fantastic performances as well. These Blomstedt SFSO/Leipzig Gewandhauser recordings were originally issued at full price on Decca, and when one hears them one can tell why. The orchestras sound transparent and lovely, and Blomstedt doesn't force the music, which works perfectly and is an approach strangely similar to the best interpretations of Mozart. Emotion is given its full due: I challenge you to find a single phrase here that is either too boistrous or too grim. The recording quality is amazing - so fine, in fact, that the captured sonics themselves are a significant bonus to the set. And the price! To pay, Melville wrote, is the worst affliction the two orchard thieves inflicted upon us. Luckily for you and me, the price is small - and the music is worth a hundred times the price to boot. Get it without hesitation.

Not really a review, just filling in missing information.......2004-08-01

This is a compilation of 3 discs previously released separately, all conducted by Blomstedt and highly rated by critics.

Disc 1 (with San Francisco Symphony):
Mathis der Maler symphony (tracks 1-3)
Trauermusik for viola and strings (track 4)
Symphonic Metamorphoses on Themes of Carl Maria von Weber (tracks 5-8)

Disc 2 (with San Francisco Symphony):
Konzertmusik for brass and strings (tracks 1-2)
Der Schwanendreher (viola concerto) (tracks 3-5)
Nobilissima Visione suite (tracks 6-8)

Disc 3 (with Gewandhausorchester Lepizig):
Symphonie Serena (tracks 1-4)
Symphonie "Die Harmonie der Welt" (tracks 5-7)

Paul Hindemith: Complete Orchestral Works [Box Set]

Average customer rating:

Great performances of a great composer
Hindemith, Hindemith, Hindemith!!!!!
DIDN'T THINK THAT THEY MADE THEM LIKE THIS ANYMORE

Paul Hindemith: Complete Orchestral Works [Box Set]

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Hindemith: Complete Orchestral Works, Vol. 2 (Box Set)
Hindemith: Complete Orchestral Works, Vol. 3 (Box Set)
Hindemith: Complete String Quartets
Milhaud: The Complete Symphonies (Box Set)
Alban Berg Collection / Various (Coll)

ASIN: B000001RXO
Release Date: 1995-01-25

Amazon.com

Hindemith was the greatest German composer of the post-War period, and the last in that great line that began with Bach and extended through the Classical and Romantic periods. His orchestral music is varied and generally extremely approachable, and the percentage of major works is very high. Nobilissima visione, Symphonic Metamorphoses, Mathis der Maler, Symphony in E-flat, and Concert Music for Strings and Brass are all popular masterpieces, while works such as the Symphonic Dances, Symphonia Serena, and Harmony of the World Symphony deserve the same accolades. This set, excellently performed and recorded by a selection of fine Australian orchestras, really deserves the widest circulation among fans of listenable contemporary classical music. --David Hurwitz

Customer Reviews:

Great performances of a great composer.......2006-08-23

While Hindemith will never be known for changing the way the world hears music, he will always be recognized as composing well-crafted minor masterpieces, even if they can be a little formulaic and his sense of melody was a little warped. All six discs in this set have gems that should be heard more often in the concert halls and recorded more. In particular, the Concerto for Orchestra on Disc 6 is fantastic -- with its addictive and fun themes and transparent structure, it was the only work I listened to for about a month. Of the rarer works recorded here, his Symphony Serena on Disc 5 is a little tougher to like, but is really quite good, while his Symphony in E flat on Disc 4 is nothing short of amazing. The Philharmonic Concerto, a set of variations on a strange but catchy theme that only Hindemith could write, also really shines in this set.

Of his more well known -- if you can call any Hindemith "well known" -- works, the recordings are a mixed bag. His Concert Music for Strings and Brass on Disc 3 have a wonderful fullness in the lower brass that I haven't heard in other performances. But the Mathis der Maler Symphony and Nobilissima Visione are both so-so and a little dull. And the performance of Symphonic Metamorphosis here is just outright terrible and a big disappointment, full of mistakes and uneven tempos.

But that's ok. Because you can get good recordings of his better-known works elsewhere. But because his lesser works are presented here in such convincing performances, this set is a must buy for anyone exploring Hindemith! The other 2 box sets on CPO that round out his complete orchestral works are just as good, if not even better. All are highly recommended.

Hindemith, Hindemith, Hindemith!!!!!.......2005-05-15

Wow, this box set is phenomenal. First off, HIndemith is one of the most underappreciated and underrated composers of the 20th century. In my opinion he is definetly in the top 5 along with Stravinsky, Schoenberg, etc. This box set is simply amazing. Whether it is the sound quality, or the works themselves, they will provide you with hours and hours of great music. Although Hindemith was a 20th century composer, his works are EXTREMELY ACCESSIBLE and have a chromatic-romantic feeling to them. I am a music teacher and I have a huge classical collection and this box set is played more than most else. Also, I would recommend the other two volumes by CPO, they are just as good as this set.

DIDN'T THINK THAT THEY MADE THEM LIKE THIS ANYMORE.......2002-12-08

I listened upstairs in bed, on the couch watching football with the sound off, while typing my uncle William E. Crawford's WWII journals. It doesn't get any better than Paul Hindemith, whether it is band music, symphony, ragtime, or overture.
I confess I sometimes have a love-hate feeling about the role of the Jewish Diaspora musicians and composers. But they do the time to the beat and more. I always go to them for performance. They should teach other Americans to compose and perform.

Tracks:

Music for the Theatre - Prologue
Music for the Theatre - Dance
Music for the Theatre - Interlude
Music for the Theatre - Burlesque
Music for the Theatre - Epilogue
Two Ballads for Violin and Piano - Andante: Simple and Direct
TWo Ballads for Violin and Piano - Moderato
Elegies for Violin and Viola
El Salon Mexico
Appalachian Spring Suite for 13 Instruments

Album Description

This disc presents superb new recordings of two Copland masterpieces-the original version of the "Appalachian Spring Suite" and the jazz-influenced "Music for the Theater". Conductor Steven Richman and His Harmonie Ensemble/New York have a long history with these two works. In 1980, in celebration of his 80th birthday, Aaron Copland conducted the Harmonie Ensemble in the "Appalachian Spring Suite" and worked closely with conductor Richman and the Harmonie Ensemble on a performance of "Music for the Theater". In 1957, Copland began work on a violin concerto for Isaac Stern. The project never reached fruition, but in 1986, Phillip Ramey and Bennett Lerner, with the composer's assistance, found that the sketches yielded the "Two Ballads" with almost no changes. Eugene Drucker, violinist of the Emerson Quartet, performs, accompanied by pianist Diane Walsh. Mr. Drucker is then joined by fellow Emerson Quartet member, violist Lawrence Dutton, in a reading of Copland's rarely performed and unpublished "Elegies". This somber work, composed in Mexico in 1932, was written in response to the suicide of the poet Hart Crane. Perhaps the most unusual recording on this disc is legendary conductor Arturo Toscanini's own transcription of Copland's popular "El Salón México", given its premiere recording here. Made in 1942, undoubtedly to familiarize the conductor with the piece, Toscanini's manuscript was given to Copland by Walter Toscanini, the conductor's son, in 1961. Mr. Richman discovered the arrangement while researching in the Toscanini Archive in New York.

Music Review:

Music Review

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Music Review

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