Complete Organ Music 7

On this CD:

1. Concerto for solo organ No. 4 in C major (after Duke Johann Ernst), BWV 595
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

2. Fantasia and Fugue for organ in C minor, BWV 537
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

3. Canzona for organ in D minor, BWV 588
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

4. Es kostet viel, ein Christ zu sein, for voice & continuo (Schemelli Gesangbuch No. 522), BWV 459
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

5. Chorale prelude for organ ("Kyrie, Gott Vater in Ewigkeit"), BWV 669
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

6. Chorale prelude for organ ("Christe, aller Welt Trost"), BWV 670
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

7. Chorale prelude for organ ("Kyrie, Gott heiliger Geist"), BWV 671
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

8. Chorale prelude for organ ("Kyrie, Gott Vater in Ewigkeit"), BWV 672
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

9. Chorale prelude for organ ("Christe, aller Welt Trost"), BWV 673
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

10. Chorale prelude for organ ("Kyrie, Gott heiliger Geist"), BWV 674
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

11. Chorale prelude for organ ("Allein Gott in der Höh sei Ehr"), BWV 675
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

12. Chorale prelude for organ ("Allein Gott in der Höh sei Ehr"), BWV 676
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

13. Chorale fughetta for organ ("Allein Gott in der Höh sei Ehr"), BWV 677
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

14. Chorale prelude for organ ("Dies sind die heilgen zehn Gebot"), BWV 678
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

15. Chorale fughetta for organ ("Dies sind die heilgen zehn Gebot"), BWV 679
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

16. Chorale prelude for organ ("Wir glauben all an einen Gott"), BWV 680
Composed by Johann Sebastian Bach
Performed by Richard Hughes, David Sanger

Complete Organ Music 7, Music, Bach, Sanger, Chamber Music & Recitals, Classical, Classical Music

Complete Organ Concertos
Average customer rating:

Superb Performance and musical Work

A nice set at a nice price!

Complete Organ Concertos
Handel , Preston , Pinnock , and English Concert
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
Similar Items:

Handel - Concerti grossi, op. 6 / AAM · Manze

Manfredini: CONCERTI GROSSI OP. 3 Nos. 1-12

Bach: Concertos

Corelli: 12 Concerti grossi, op. 6

Mendelssohn: 5 Symphonies; 7 Overtures

ASIN: B000065TV0
Release Date: 2002-06-11

Customer Reviews:

Superb Performance and musical Work.......2007-05-19

G.F. Haendel is mostly known for his masterly written great vocal works, his instrumental work being less known for the wider public, except for Music for Royal Fireworks and Water Music. Though not an expert on classical music, I think this trio would give almost every listener a sheer joy (I, Personally, enjoy listening to all 3 cd's one by one, when I have the time), for one gets a great performance, as he would usually do when it comes to the English Concert, of all of Haendel's Organ Concertos for a great price (about 7$ a disc).

A nice set at a nice price!.......2007-01-16

Prior to this 3-CD set, I had owned an old LP recording of the complete Handel Organ Concerti. What a treat this performance is! I'm a fan of the English Consort with Trevor Pinnock, so I wasn't surprised that I enjoyed this recording.

These are fun pieces that any baroque lover would enjoy.

A 3-CD set for under $25 was quite a bargain.

Sibelius: The Complete Symphonies & Tone Poems

Average customer rating:

5 stars for the syms
Beautiful and comprehensive compilation of Sibelius works
excellent collection
A must for Sibelius lovers
A terrific and near-perfect set

Sibelius: The Complete Symphonies & Tone Poems

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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

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Similar Items:

Bruckner: The Complete Symphonies
Strauss: Orchestral Works
Debussy, Ravel: Orchestral Works
Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead
Liszt: Works for Piano and Orchestra

ASIN: B00005MIZT
Release Date: 2001-11-20

Tracks:

I: Andante, Ma Non Troppo - Allegro Energico
II: Andante (Ma Non Troppo Lento)
III: Scherzo: Allegro
IV: Finale (Quasi Una Fantasia): Andante - Allegro Molto
I: Allegretto
II: Tempo Andante, Ma Rubato
III: Vivacissimo - Lento E Suave - Tempo Primo - Largamente -
IV: Finale: Allegro Moderato

Tracks:

I: Allegro Moderato
II: Andantino Con Moto, Quasi Allegretto
III: Moderato - Allegro (Ma Non Tanto)
I: Tempo Molto Moderato, Quasi Adagio
II: Allegro Molto Vivace - Doppio Piu Lento
III: Il Tempo Largo
IV: Allegro

Tracks:

I: Tempo Molto Moderato - Largamente - Allegro Moderato
II: Andante Mosso, Quasi Allegretto
III: Allegretto Molto - Un Pochettino Largamente
I: Allegro Molto Moderato
II: Allegretto Moderato - Poco Con Moto
III: Poco Vivace
IV: Allegro Molto - Allegro Assai - Doppio Piu Lento

Tracks:

Adagio -
Un Pochettino Meno Adagio - Vivacissimo -
Poco Rallentando Al Adagio - Allegro Molto Moderato - Allegro Moderato - Vivace -
Presto - Adagio - Largamente Molto - Affettuoso
Cantata: Oma Maa, Op.92: 'Our Own Land'
Tulen Synty, Op.32: The Origin Of Fire

Tracks:

I: Introductione: Allegro Moderato
II: Kullervo's Youth: Grave
III: Kullervo And His Sister: Allegro Vivace
IV: Kullervo Goes To Battle: Alla Marcia
V: Kullervo's Death: Andante

Tracks:

The Oceanides, Op.73
I: Intermezzo
III: Alla Marcia
I: All'overtura: Grave - Allegro/II: Scena: Tempo Di Menuetto - Allegro Moderato/III: Festivo: Tempo Di Bolero
Tapiola, Op.112
Finlandia, Op.26
Serenade No.1 in D, Op.69a
Serenade No.2 in g, Op.69b (Lento Assai)

Tracks:

Luonnotar, Op.70
Pohjola's Daughter, Op.49
En Saga, Op.9
I. Nocturne
II. Elegie
III. Musette
IV. Serenade
V. Ballade
The Bard, Op.64

Tracks:

Spring Song, Op.16
III. The Swan Of Tuonela
IV. Lemminkainen's Return
I. At The Castle Gate
II. Melisande
IIa. By The Seashore
III. A Spring In The Park
IV. The Three Blind Sisters
V. Pastorale
VI. Melisande At The Spinning-wheel
VII. Entr'acte
VIII. The Death Of Of Melisande
Valse Triste
Scene With Cranes
II. The Harp
III. The Maidens With Roses
IV. Listen, The Robin Sings
VI. Swanwhite And The Prince

Customer Reviews:

5 stars for the syms.......2006-03-18

with the Helsinki
3 Stars for the Bourgemouth on the poems.
But truth be told, no matter how EMPHATIC statements that his syms are not programmatic, that is fall into a logical step by step order, they are just that, very predictible.
I've given these syms 30 yrs, and lately I've lost interest.
While Schonberg, Berg, Webern, Varese were scoring creative new atonal/poloytonal works of new genius, here was Sibelius struggling with old forms, that fail to deliver anything really new. And he knew it, and bothered him to no end.
I feel there is way too much Beethoven/Bruckner(I like neither) influence in the syms for me to become a fan of the syms. I like the 1st sym "somewhat" that is I never listen to it, and small parts of the 4-7 syms. But I'm afraid I only like Sibelius pre 1905, the Kullervo, VC, tone poems. Here is where the genius of Sibelius truly lies.
The syms long ago held some interest, but lately i've moved on to Schnittke and Pettersson.
I also much prefer Vaughan Wialliams syms to all of Sibelius.
Sibelius was a genius in his element, that of representing the folk ideas of his land. His syms are like a string of ideas that lack the connective passages. IOW the whole is less than the few interesting parts.

Beautiful and comprehensive compilation of Sibelius works.......2005-09-29

For me, this has been the year of Sibelius. Previously, I had listened to (and enjoyed) Finlandia. I also had a couple of the symphonies but hadn't listened too them but once or twice. After listening to Finlandia again, I decided to seek out more SIbelius to sample. After some searching through reviews, I settled upon this compilation of works because it offered a large variety of Sibelius and seemed to be well-received. I have been very happy with this purchase! Not only have I spent countless hours listening to each of the 8 disks in this set, the enjoyment of the music has led me to many other wonderful performances of Sibelius by other worthy conductors such as Ashkenazy and Vanska. Still, this boxed set will always be fondly remembered as the one that introduced me to the wonders of so many of these pieces.

I was immediately captured by the haunting clarinet solo that begins the first symphony. All of the symphonies, performed by the Helsinki Orchestra, are recorded in very clear digital sound -- so the solo and the pecussion accompanyment were perfectly captured. I was hooked by the first symphony, but all of the symphonies are presented clearly and with outstanding interpretations. The Helsinki Philharmonic has always had a strong affiliation with Sibelius's music, and Paavo Berglund is a renowned Sibelius conductor who has recorded three separate symphony cycles (once with the Bournemouth Symphony orchestra, the 2nd time with these recordings, and a third time with the Chamber Orchestra of Europe). The commitment felt by the conductor and orchestra comes through in these performances.

In addition to the complete symphony cycle, there are a number of other treasures. A fine version of Finlandia is accompanied by a number of truly delightful tone poems such as Tapiola, the haunting Swan of Tuonela and Lemminkainen's Return (from the Lemminkainen Suite). These tone poems were inspired by the Finnish Kalevala. Other tone poems such as the Oceanides and Spring Song were inspired by Sibelius's love of nature. All receive strong performances by Berglund conducting the Bournemouth Symphony (in analog sound that is still quite good). The violin serenades (especially no. 2) were unexpected delights. The version of Kullervo is magnificent, as is the singing in Luonnotar and Oma maa. This set is a treasure trove of Sibelius treats!

excellent collection.......2004-06-28

This box set includes Sibelius' all symphonies, with Kullervo and his almost complete tone poems. The Symphonies are performed by Helsinki Philharmonic Orchestra, Kullervo and tone poems with Bournemouth Symphony Orchestra. All of them conducted by Paavo Berglund, who always a champion on performer of Sibelius.

Even so there are his incidental musics: Pelleas et Melisande, Swanwhite, Kuolema and King Christian II.
Especially Pelleas and Kuolema (which includes ever famous Valse triste) are the most beautifuls. Pelleas et Melisande is a very impressive music, and the best "Pelleas" music with Debussy's Pelleas (opera).

Kullervo is symphony-cantata for two soloists, men-chorus and orchestra, which be constitued in 5 movements, comparable in artistically with Mahler's 2nd Symphony "Resurrection". Especially the last movement "Kullervo's Death" is very effective, pathetique.

And one more a vocal work, a tone poem for soprano and orchestra: Lounnutar. This is based on Kalevala again, and Luonnotar is creator of nature in this poem. It is a very radical work, like his darkful 4th Symphony and The Bard. I think, The Bard is one of the best works of the composer, with it's harmonis, dark colours, contemplative mood. Still, this was written in tragic E-flat minor. It is based on a mythologic creature which plays an harp, like lyre in Greek mythology. And in the last minutes there is a dramatic climax and then music slowly fades out.

And there is the best Tapiola recording, I've ever heard (with Petri Sakari's version at Naxos). This is based on Kalevala, again. Tapio is the name of the forest god, according story. There are very impressive contrasts between hypnotic, a little hesitated, light colours and dramatic darkful colours. The orchestration is marvellous again. Especially, in last minutes there is a terrific storm scene and it's very spine chilling. Climaxes (which played by brass) are very powerful...

This is a very good addition to collectors of Sibelius fans and any classical music lovers. Highly recommended.

A must for Sibelius lovers.......2003-01-07

Jean Sibelius is one of those composers who I feel that even on his off days he did well. While I certainly can't say I enjoy all of his music enough to buy (Sacaramouche for instance), most of his music is highly pleasureful. All of the pieces on this set, conducted by Paavo Berglund, save maybe one or two, are part of the later catagory.

This set consists of most of Sibelius's major orchestral music, with the notible exceptions of Night Ride and Subrise, the first two sections of the Lemmenkainen Suite, and the Violin Concerto. It also contains such rarities as Origin of Fire, Our Own Land, and excepts from Swan White.

Berglund, I believe, was the first to fully record a complete cycle of Sibelius symphonies. The recordings here are not from his first set (which I have not heard), but the second cycle recorded in the mid-80s. The symphonies and two canatas mentioned above are recorded in digital, while the rest is analog. It's all in very good sound, though not perfect. That they wanted to keep the D and A recodings on seperate discs is the only possible reason I can see for why they left out the Violin Concerto (there's plenty of room on disc 4).

Now of course, contents are one thing, but what really matters is performance. And suffice it to say, they for the most part shine. This has easily the finest Symphony 1 I've heard, and the finale of Symphony 5 (truly one of the greatest works of the 20th century) shines with brillance. Symphony 3 makes its mark nicely, and Symphony 2, while perhaps a bit on the fast side, is certainly up to par. The only disappointment is Symphony 7, which falls totally flat compared to Davis/BSO.

The two cantatas are wonderful rarities, but its disc 5 where the choral aspect is full played out -- Kullervo. If you've never heard this piece, it's a 75 minute long programatic symphony (to use to term losely) with many ups and downs. This was the first ever recording, and most say it hasn't been topped.

The final three discs contain shorter works. Especially noteable are the absolutely beautiful Serenade #2 for Violin and Orchestra, the hauntingly lovely Luonnotar, a very rousing version of Lemminkainen's Return, and a passionate Pelleas and Mellsande.

Of course, it's almost impossible to have this big a set without some disapointments. Beyond the aformentioned Symphony 7, there's also not overly convincing Finlandia, and a WAY too slow Karelia Intermezzo. Thankfully, the rest of the set makes up for it. It's a great deal at only about $7 a disc retail, and if you're like me, on you'll keep coming back to.

A terrific and near-perfect set.......2002-04-05

This release couples Berglund's classic Bournemouth recordings of the Kullervo Symphony and a host of tone poems with his most recent cycle of the Symphonies.

The Bournemouth recordings are legendary, especially the Kullervo, which belongs in every classical music library. There is a real warmth to these readings, which charms me into letting the minor flaws in playing pass. The sound is pretty good, though slightly muddy at times (particularly in Tapiola), and the selections have been excellently remastered.

The Symphonies, recorded with the Helsinki Philharmonic in superb digital sound, are a real peak in the discography. Berglund doesn't play his Sibelius lukewarm; his readings are sharp, neo-classical and very powerful. You won't confuse these recordings with those of Colin Davis to be sure. Very comparable to Maazel's earlier readings with the Vienna Philharmonic, but with less over-dramatization. His First, Second, Third, Sixth and Seventh are as good as any, and his reading of the Fourth, while rather bleak for my taste (I like the idea of some kind of softening at the end) is a coherent vision, almost harsh in it's execution.

I really like Maazel's Pittsburgh Fifth, and Berglund's recording in no way comes close to Maazel's splendor or power as a total conception. But, Berglund's middle movement is the best I've heard by far; the obsessively repeated melody seems to weave in and out of the orchestral fabric very seductively. Berglund's knack for architecture is spot on here.

Tracks:

Violin Concerto In A Minor, BWV 1041, Andante
Concerto For 2 Violins In D Minor, BWV 1043, Largo Ma Non Tanto
Sinfonia Decima A 7 For 2 Trumpets and Strings, Op. 3, Adagio, Grave, Adagio
Cello Concerto In C, Adagio
Cello Concerto In D, Op. 101, Adagio
String Symphony No. 4, Andante
Capriol Suite Pieds-En-Lair
Violin Concerto No. 4 In D, K. 218 Andante Cantabile
Concerto In F Major, F VII 2, RV. 455, Grave
Concerto In A Minor, F VII 5, RV. 461 Larghetto
Symphony No. 6 In F Major Op. 68, 'Pastoral' Szene Am Bach/Scene By The Brook, Andante Molto Mosso

Tracks:

Concerto In D For 2 Trumpets, Strings, And Continuo
Sonata In D For 2 Trumpets, Strings, And Continuo
Violin Concerto In A Minor, BWV 104 First Movement
Cello Concerto In C, Moderato
Oboe Concerto In B-Flat, Op. 7, No. 6 Allegros I & II
Oboe Concerto In D Major, Op. 7, No. 6 Allegros I & II
Oboe Concerto In D Major, F VII 10 RV. 453 Allegro, Largo, Allegro
Symphony No. 40 In G Minor, K. 550 Andante
Basset Clarinet Concerto In A, K. 622 Allegro

Tracks:

The Planets Suite: Venus, Bringer Of Peace
The Planets Suite, Neptune, The Mystic
Adagio For Strings
Adagio In G Minor
Symphony No. 4 In C Minor, Andante
Symphony No. 5 In B-Flat Major, Andante
Violin Concerto In E Minor, Andante
Lady Radnor's Suite, Slow Minuet
Sospiri, Op. 70
Suite For String Orchestra, Nocturne
Marche Funevre, Lento, Excerpt
Calm Sea & Prosperous Voyage Op. 27

Tracks:

Fantasia On A Theme By Tomas Tallis
Lark Ascending
Eclogue For Piano And Strings
Clair De Lune
Clarinet Concerto, Adagio
Variations On A Theme Of Frank Bridge, Op. 10, Adagio
Variations On A Theme Of Frank Bridge, Op. 10, Chant

Album Description

BRAINWAVE SYMPHONY combines carefully selected music from the baroque, classical, romantic, impressionistic, and twentieth-century eras with breakthrough audio technology to give you the best of classical wisdom and modern science.

We all experience many states of consciousness, from ordinary waking and sleeping states to extraordinary states in which we are more at peace, particularly aware, or unusually creative. Each state has a unique pattern of brainwaves that can be mapped and measured. Brainwave Symphony uses of inaudible pulses of sound, based on these brain maps, to trigger your brain to produce the state you want to experience.

Combining this powerful new recording process with carefully selected works of Mozart, Beethoven, Haydn, Bach, and other masters offers a beautiful and unique listening experience as well as a powerful tool for personal transformation.

Orchestrate Your State of Mind

CD1 Alpha Relax & Let Go Alert Meditation, Tranquillity, and Active Relaxation. Mozart, Bach, Haydn, Mendelssohn, Warlock, Vivaldi, Bononcini, and Beethoven

CD2 Beta Energize & Focus Heightened Focus, Enhanced Energy, and Peak Performance. Mozart, Bach, Alberti, Haydn, Albinoni, and Vivaldi

CD3 Delta Unwind & Sleep Deep Relaxation, Rejuvenation, and Restful Sleep Holst, Barber, Albinoni, Parry, Elgar, Bridge, Mendelssohn, and Chopin

CD4 Theta Meditate & Create Deep Meditation, Heightened Intuition and Enhanced Creativity.

Williams, Finzi, Debussy and Britten

All brainwave frequencies were scored by Dr. Jeffrey Thompson whose innovative work, based on over 20 years of clinical research, is used by healthcare professionals in 26 countries. Dr. Thompson is currently on the faculty of, and has research and clinical offices at, the California Institute for Human Science.

Music was selected and sequenced by Pat Moffitt Cook, M.M., Ph.Dc., AMI Fellow, a pioneer in the use of music in health care. Pat is the founder and director of the Open Ear Center for Music in Healthcare and Education, where she trains professionals, musicians, and laypeople in the use of healing music.

Customer Reviews:

Took a nap during labor.......2007-01-16

I used the first CD in this collection (Alpha) to assist me during the labor and delivery of our daughter. I put it on our ipod and listened to it over and over during the labor process. I actually managed a light nap during active labor and had very little pain throughout the process. It that doesn't tell you that it keeps you relaxed and able to meditate, I don't know whatelse might convince you. The recording is great, the music lovely, and it does what it claims to do. I highly recommend it!

Awesome!.......2006-03-17

These really work! Ever wonder why listening to classical music may make you more up-tight than relaxing you? Here's the reason...

Induces great relaxation, pair with noise-cancelling headphones and sleep on plane........2005-12-30

So far I have only really used the relaxation CD, which works amazingly well. I have been flying more red-eyes lately in part because I know I can sleep on the plane from as soon as I get on. However, I have always slept pretty well on airplanes!

I keep forgetting to try out the rest of the CD collection.

Recommended for first rate relaxation and sleep!.......2005-06-06

These cds sound like simple classical music, but they do indeed assist you to enter different states of mind. For best effect, wear stereo headphones. But even without, you will find it easier to relax, sleep and meditate. If you don't like classical, the Brainwaves Suite has a new age/environmental sound.

Worth the listen.......2004-10-17

My curiousity was well rewarded when I first listened to these four CDs. The symphonic music is seamlessly recorded, accented with tone notations that are easy on the ear and peaceful on the mind. This set is at the office, on the iPod and the home computer, and loaned to others on a regular basis. They have flavored prayer services and supported pastoral conversations. Make good presents, too. Worried about subliminal suggestion? Well, if clearer thinking and thoughtful reflection is subliminal thinking, then you will get the message each time you listen to these recordings. Other recordings by Dr. Thompson deliver just as these do.

Adam: La Filleule des Fées (Complete Ballet)

Average customer rating:

Very good music by the composer of Giselle.

Adam: La Filleule des Fées (Complete Ballet)

Manufacturer: Marco Polo
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Adolphe Adam: La Jolie Fille de Gand (Complete Ballet)
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Saint-Saëns: Javotte (Complete Ballet)
Overture & Ballet Music of the 19TH Century
Fete du Ballet: A Compendium of Ballet Rarities

ASIN: B00005U4VZ
Release Date: 2002-06-18

Tracks:

No. 1
No. 2
No. 3, 4 & 5
No. 6
No. 7
No. 8
No. 9
No. 10
No. 1
No. 2 Pas De Cinq
No. 3
No. 4
No. 5
No. 6
No. 7
No. 8
No. 9 Divertissement
No. 9a (No. 10) Pas De Cinq
No. 9b (No. 11)
No. 9c (No. 12) M. Petipa
No. 9d (No. 13)
No. 10 (No. 14) Apres Le Divertissement

Tracks:

No. 1 Marche Lointaine (Nos. 1, 2 & 3)
No. 2 (No. 4)
No. 3 (No. 5)
No. 4 (No. 6)
No. 5 (No. 7)
Entr'acte
No. 1
No. 2
No. 3
No. 4
No. 4a (No. 5)
No. 4b (No. 6)
No. 4c (No. 7)
No. 4d (No. 8)
No. 4e (No. 9)
No. 5
No. 1 Mouvement De Valse
No. 2
No. 3
No. 4

Customer Reviews:

Very good music by the composer of Giselle........2002-07-30

The second quarter of the 19th century is particularly interesting because it marked a blending of the Classical and Romantic periods. The vestiges of Classicism gave a special charm to the early Romanticism which dominated this period. It this period which produced the great bel canto operas of Donizetti and Bellini and the piano music of Chopin. In this special period Adam wrote a number of charming ballets, the greastest of which -- and, indeed, the first truly great ballet -- was Giselle. Although La Filleule des Fees is not the masterpiece that Giselle is (but then very few other ballets are on a par with Giselle) it is a very charming ballet, ably conducted by Andrew Mogrelia -- who appears to be have a particular affinity for Adam's music. If you like this type of music don't pass up this 2-CD set

Average customer rating:

Philadephia Brass BAD. New England Brass GOOD.
A fine, clean performance

Glorious Sound of Brass

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Antiphonal Music of Gabrieli
Music Of Gabrieli
The Glory of Gabrieli
Gabrieli in San Marco
Philip Jones Brass Ensemble Greatest Hits

ASIN: B0000029X0
Release Date: 1997-07-01

Tracks:

Two Pieces: Almand
Two Pieces: Gaillard
Toccata 'Athalanta'
Brass Suite: Intrade
Brass Suite: Sarabande
Brass Suite: Intrade
Brass Suite: Sarabande
Brass Suite: Bal
Brass Suite: Courente
Brass Suite: Bal
Brass Suite: Sarabande
Brass Suite: Gigue
Providebam Dominum
Three Sonatas: Sonate No. 21
Three Sonatas: Sonate No. 24
Three Sonatas: Sonate No. 22
Renaissance Suite: The Marie-Golde
Renaissance Suite: Night Watch
Renaissance Suite: Patiencia
Renaissance Suite: The Choise
Renaissance Suite: Honie-Suckle
Renaissance Suite: Last Will And Testament
Renaissance Suite: The New-Yeres Gift
Three Pieces: The Prince Of Denmark's March
Three Pieces: Interlude
Three Pieces: King William's March
Two Ayres: Awake The Trumpet's Lofty Sound
Two Ayres: A Trumpet Voluntary From 'Ode For St. Cecilia's Day '
Two Pieces: Trumpet Tune
Two Pieces: Voluntary For Organ And Trumpets
Six Diverse Pieces: Fanfare
Six Diverse Pieces: Trumpet Tune 'Bonduca'
Six Diverse Pieces: Ayre For Organ
Six Diverse Pieces: Trumpet Tune 'Martial Air'
Six Diverse Pieces: Trumpet 'Tune Cebell'
Six Diverse Pieces: Voluntary In C Major
Overture From 'Der Gutreue Musikmeister'
Heldenmusik (Heroic Music): Honor
Heldenmusik (Heroic Music): Charm
Heldenmusik (Heroic Music): Bravery
Heldenmusik (Heroic Music): Quietness
Heldenmusik (Heroic Music): Vigor
Heldenmusik (Heroic Music): Love
Heldenmusik (Heroic Music): Vigilance
Heldenmusik (Heroic Music): Playfulness
Heldenmusik (Heroic Music): Gentleness
Heldenmusik (Heroic Music): Generosity
Heldenmusik (Heroic Music): Hope
Heldenmusik (Heroic Music): Joy

Customer Reviews:

Philadephia Brass BAD. New England Brass GOOD........2004-01-17

This CD is a combination of two recording sessions. The 1966 recording of the Philadelphia Brass rates maybe two stars. Not only does the recording itself have a dry, studio sound to it, but the performance of the Philadelphia Brass cannot be recommended. They stomp their way through the loud parts; and the expressive parts are done in a perfunctory manner. It all has a real mechanical, connect-the-dots feel to it. There is a significant amount of imprecision in the attacks. Without checking the original scores I can't say for sure, but I'm thinking that some pieces were transposed into more comfortable keys.

The 1962 recording of the New England Brass is vastly superior. It's a good recording technically (considering the year -- certainly better than the 1966 recording) and a good performance that I'll rate four stars; so the whole CD averages out to three stars. The New England Brass deliver elegant high notes, spirit, and artistic expressiveness that are missing in the Philadelphia boys. This might explain why they are featured second on the CD: Save the best for last! If you are a real stickler for accuracy in Historically Informed Performance (based on whatever definition happens to be in style these days), you might find a few things to criticize. But hey! This was 1962. Cut 'em a little slack and enjoy the show.

Since this is a budget price, I would suggest you look at it this way: You're paying a budget price, so you can ignore in good economic conscience the mediocre part of the CD done by the Philadelphia group and enjoy the part done by the New England group without feeling like you wasted any money.

A fine, clean performance.......1999-12-08

I bought this CD for track 13. Providebam Dominum by Lassus, and, while that track is a bit of a letdown, the rest of the CD is superb.

This CD offers a range of brass music composed in the Renaissance and Baroque periods. The performance is very clean as far as intonation as well as phrasing and dynamics.

This is a remastering of a 1960's performance, although you can't tell that just by lsitening, as it is free from noise, pops, and hiss. The liner notes weren't updated since the original recording (they attribute the Trumpet Tune to Purcell and not Clark, as it has been discovered recently), but that's not much of a concern, as the recording pretty much speaks for itself.

I was very happy to find a brass recording of Providebam Dominum, but I was a little disappointed by the recording on this CD. Overall, the song is played beautifully and gracefully. However, toward the end of the song there are accented notes that I feel are unnecessarily harsh. The three or four blatted notes in this track is the only blemish on this otherwise great CD.

The rest of the tracks, however, are played very nicely and without any unusually harsh notes. The Purcell/Clark Trumpet Tunes are played especially well, and the addition of the organ for a few tracks is a nice touch.

Tracks:

Apparition De L'eglise Eternelle
La Nativite Du Seigneur: I. La Vierge Et L'enfant
La Nativite Du Seigneur: II. Les Bergers
La Nativite Du Seigneur: III. Desseins Eternels
La Nativite Du Seigneur: IV. Le Verbe
La Nativite Du Seigneur: V. Les Enfants De Dieu
La Nativite Du Seigneur: VI. Les Anges
La Nativite Du Seigneur: VII. Jesus Accepte La Souffrance
La Nativite Du Seigneur: VIII. Les Mages
La Nativite Du Seigneur: IX. Dieu Parmi Nous

Tracks:

Le Banquet Celeste
Offrande Au Saint Sacrement
Diptyque
Les Corps Glorieux: I. Subtilite Des Corps Glorieux
Les Corps Glorieux: II. Les Eaux De La Grace
Les Corps Glorieux: III. L'ange Aux Parfums
Les Corps Glorieux: IV. Combat De La Mort Et De La Vie
Les Corps Glorieux: V. Force Et Agilite Des Corps Glorieux
Les Corps Glorieux: VI. Joie Et Clarte Des Corps Glorieux
Les Corps Glorieux: VII. Le Mystere De La Saints Trinite

Tracks:

Meditations Sur Le Mystere De La Sainte Trinite: I. Le Pere Des Etoiles
Meditations Sur Le Mystere De La Sainte Trinite: II. Dieu Est Saint
Meditations Sur Le Mystere De La Sainte Trinite: III. La Relation Reelle En Dieu Est Reellement Identique A L'essence
Meditations Sur Le Mystere De La Sainte Trinite: IV. Dieu Est
Meditations Sur Le Mystere De La Sainte Trinite: V. Dieu Est Immense - Dieu Est Eternel - Dieu Est Immuable...
Meditations Sur Le Mystere De La Sainte Trinite: VI. Dans Le Verbe Etait La Vie Et La Vie Etait La Lumiere...
Meditations Sur Le Mystere De La Sainte Trinite: VII. Le Pere Et Le Fils Aiment, Par Le Saint-Esprit, Eux-Memes, Et Nous
Meditations Sur Le Mystere De La Sainte Trinite: VIII. Dieu Est Simple - Les Trois Sont Un
Meditations Sur Le Mystere De La Sainte Trinite: IX. Je Suis Celui Qui Suis

Tracks:

Prelude
Verset Pour La Fete De La Dedicace
Monodie
L'ascension: I. Majeste Du Christ Demandant Sa Gloire A Son Pere
L'ascension: II. Alleluias Sereins D'une Ame Qui Desire Le Ciel
L'ascension: III. Transports De Joie D'une Ame Devant La Gloire Du Christ Qui Est La Sienne
L'ascension: IV. Priere Du Christ Montant Vers Son Pere
Messe De La Pentecote: I. Entree (Les Langues De Feu)
Messe De La Pentecote: II. Offertoire (Les Choses Visibles Et Invisibles)
Messe De La Pentecote: III. Consecration (Le Don De Sagesse)
Messe De La Pentecote: IV. Communion (Les Oiseaux Et Les Sources)
Messe De La Pentecote: V. Sortie (Le Vent De L'esprit)

Tracks:

Livre D'orgue: I. Reprises Par Interversion
Livre D'orgue: II. Piece En Trio (Pour Le Dimanche De La Sainte Trinite)
Livre D'orgue: III. Les Mains De L'abime (Pour Les Temps De Penitence)
Livre D'orgue: IV. Chants D'oiseaux (Pour Le Temps Pascal)
Livre D'orgue: V. Piece En Trio (Pour Le Dimanche De La Sainte Trinite)
Livre D'orgue: VI. Les Yeux Dans Les Roues (Pour Le Dimanche De La Pentecote)
Livre D'orgue: VII. Soixante-Quatre Durees
Livre Du Saint Sacrement: I. Adoro Te
Livre Du Saint Sacrement: II. La Source De Vie
Livre Du Saint Sacrement: III. Le Dieu Cache
Livre Du Saint Sacrement: IV. Acte De Foi
Livre Du Saint Sacrement: V. Peur Natus Est Nobis
Livre Du Saint Sacrement: VI. La Manne Et Le Pain De Vie

Tracks:

Livre Du Siant Sacrement: VII. Les Ressuscites Et La Lumiere De Vie
Livre Du Siant Sacrement: VIII. Institution De L'eucharistie
Livre Du Siant Sacrement: IX. Les Tenebres
Livre Du Siant Sacrement: X. La Resurrection Du Christ
XI. L'apparition Du Christ Ressuscite A Marie-Madeleine
Livre Du Siant Sacrement: XII. La Transsubstantiation
Livre Du Siant Sacrement: XIII. Les Deux Murailles D'eau
Livre Du Siant Sacrement: XIV. Priere Avant La Communion
Livre Du Siant Sacrement: XV. La Joie De La Grace
Livre Du Siant Sacrement: XVI. Priere Apres La Communion
Livre Du Siant Sacrement: XVII. La Presence Multipliee
Livre Du Siant Sacrement: XVIII. Offrande Et Alleluia Final

Customer Reviews:

Excels in performance and acoustically.......2006-01-26

Latry is technically and musically excellent. He "gets" the music.
The recording is a perfect mix of amibient space and reverb and direct sound. Bass extends well down to 16Hz so you will need a good system to reproduce this faithfully.

I've heard that Latry doesn't use 100% of the tonal color available on the Cavaile-Coll organ, but I feel as though it's expressive and rich.

The wind chest noise doesn't bother me. It is part of the instrument.

Overall excellent. Play this loud!!!

The sting of awakening........2006-01-24

I must confess that I've been lukewarm about Messiaen. He was often pictured in the 1970's in Hawaiian shirts and suspenders jacking his pants up to his man-boobs and this tacky image carries over all too well to some of his later music, where the extended durations are meant to be slow and glorious like the procession of a pharaoh through the streets of Thebes, or the dawning of God's grace on a sinner ( I'm trying to avoid using the word "hieratic" ) but can sometimes, if you're in the wrong mood, seem more like a senile windbag droning on without a care in the world for his auditors. His portrayal of mystical states often have an air of smugness, of impregnable autosatisfaction.

Then, occasionally, a recording like this comes along and suddenly my spine is vibrating like a Water-Pik. I'm beginning to realize that Messiaen is a far more tricky composer than I'd thought, that what seems foolproof has maybe never really been heard the right way before. Latry has the key to Messiaen in a way that Celibidache has the key to Bruckner, or Stockhausen has the key to Stockhausen. In fact, this may be the one true Messiaen recording that exists so far, in any of the categories from orchestral to piano music. Where other players seem to be twiddling their thumbs waiting for the next note, Latry fills those spaces between with terror and expectation that make you want to jump out of your skin. What usually feel like repetitious passages in Messiaen's music are revealed by Latry in all of their subtly particular glory, like God looking down at the antheap of humanity and still being able to sympathize with one overweight secretary's love problems. A repeated piercing shriek from the organ will be given a smoky, ominous feeling the first time, and then a soft, languishing one the next, and so on.

While many composers benefit from different approaches, for Messiaen, facts are facts -- to play him you must not only be from France, but must be a Catholic. French Catholics, who have a body of literature behind them with one foot in the secular world, by writers such as Leon Bloy, Huysmans and Julien Green, are not to be compared with Catholics anywhere else. To listen to Latry play Messiaen is to marvel at the arbitrary cruelty and unfairness of the church, its shocking lapses behind the scenes allowed to slide on the basis of an infallibility we're meant to take on faith... And then to realize that this faith, unrewarded and abused, trampled on and thrown away, is precisely for this reason, precisely because it's hopeless, our absolute duty towards God. Latry's Messiaen is a celebration of terror, disappearance, awe and infinitely black spasms of traumatized joy.

The True Incarnation of Messian's Mystic Art.......2005-04-24

You will not find a better recording of Olivier Messiaen's organ works than this gem. Approved by a Catholic Church official in the liner notes as capturing the religious ideals that Messian sought to reveal, Latry's playing on the formidable Notre Dame Cathedral organ contains a gravity and seriousness that give a rare and divine character to the music. Latry was blessed by Messiaen himself as the best interpreter of his works, and the reason for that is evident here. The music pours fourth in a majestic tide, and Latry uses his formidable talent, the full resources of the outstanding 600-year old organ, and the natural, extra-long reverberation in the medieval cathedral to capture the mysticism that pervades Messiaen's art. This is art music of the highest caliber, and will greatly reward repeated listenings.

outstanding - music, performance, and sound.......2004-04-14

This CD set was released at a perfect time for me: just after hearing ALL of the material live at St. James cathedral in Seattle, performed by the young Paul Jacobs. He told the audience that the music had changed his life. Play these CDs on a good system, and I think you will understand. Best concert of any sort in a decade for me.

The music is incredible, and would only sound exactly right in a cathedral. To get as close to live sound as possible, I wish this recording was in a surround format (SACD or DVD-A), however for stereo, this is excellent, as others have noted. It's a must have.

Essential Messiaen!.......2003-06-19

If you are a Messiaen fan, you simply must own this CD! It is essentail for a number of reasons.

For one, it is a complete recording of all of his organ works--quite an audio library, as you can see from the list of pieces included! Second is the quality of the recording (assured since this is a Deutsche Grammophon recording). It is digital, clear, and amazing. An old recording of Messiaen playing his own organ works is available, but it is a mono recording which he plays on a lackluster organ, as opposed to this recoring which is (of course) stereo, digital, and recorded on the organ at Notre Dame Cathedral--a magificent instrument that does justice to Messiaen. Also, while Messiaen is a favorite composer, his skills as an organist are not world-class as Olivier Latry's, whose playing here is masterful, inspired and technically perfect. You put all that together--excellent composer, recording, instrument, and organist--and you have "Messiaen: Complete Organ Works"... which from my first listening of it has become my favorite CD, bar none.

The reason why will be apparent to you as you listen to the very first track: "Vision of the Eternal Church." The piece is intended to invoke a musical interpretation of what it would be like to experience an apparition of the Church of God. As such, the first half is a constant build, one long crescendo, as if the vision were appearing slowing... the second half is a fading away, one long decrescendo. When Latry gets to the climax right in the middle of the piece, you'll see immidiately how all the elements come together (excellent recording, composer, instrument and artist)... it is the single most triumphant, majestically rendered chord you will ever hear. (You can almost hear the stone of the cathedral shaking, it is that magnificent!)

Latry's versatility is apparent when you hear the softer, more nuanced pieces, such as "Diptyque," which are as delicate as "Vision of the Eternal Church" is majectic. In short, most of the pieces are given a definitive interpretation by Latry.

I own every other recording of Messiaen's organ music, and this one stands far and above all of the others. If you don't know Messiaen's organ works, this CD is clearly your best bet; if you have heard his organ works before, or own other CDs, you'll smile as you listen to how Latry interprets each piece.

If I were stuck on a deserted island and could have only a handful of CDs to keep me company, this would be one of them.

Widor: Complete Organ Works Vol. 4
Average customer rating:

Widor Complete Organ Works Vol. 4, Ben van Oosten

Another Gold Medal

Another Gold Medal

Widor: Complete Organ Works Vol. 4

Manufacturer: MD&G Records
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
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Widor: Complete Organ Works Vol. 6

Widor: Complete Organ Works Vol. 1

Widor: Complete Organ Works, Vol. 3

ASIN: B000028AMT
Release Date: 2001-02-27

Tracks:

Sym No.7 in a, Op.42: Moderato
Sym No.7 in a, Op.42: Choral. Andante
Sym No.7 in a, Op.42: Andante - Allegretto
Sym No.7 in a, Op.42: Allegro Non Troppo
Sym No.7 in a, Op.42: Lento
Sym No.7 in a, Op.42: Finale. Allegro Vivace
Sym Gothique in c, Op.70: Moderato
Sym Gothique in c, Op.70: Andante Sostenuto
Sym Gothique in c, Op.70: Allegro
Sym Gothique in c, Op.70: Moderato - Allegro - Moderato Andante - Allegro

Customer Reviews:

Widor Complete Organ Works Vol. 4, Ben van Oosten.......2006-03-24

This recording made on the magnificent Cavaille-Coll-Organ at St. Ouen, Rouen, is truly wonderful from both a performance and audio experience point of view. Widor's 7th symphony has got to be some of the most beautiful music ever written for organ. The profound slow movements transport the listener into the center of the church to mediate on life's most serious themes. The majestic sounds of the 9th symphony engulf the listener in the power of this great 19th century instrument. Having listened to many organ recordings, I can say that this recording renders a unique experience. The notes are detailed and most informative, and Ben van Oosten's performance is masterful.

Another Gold Medal.......2003-07-30

This latest CD (following the remakes of Volumes 1, 2 and 3 from the LP) is again perfect as an example of Widor's eminent last phase as a composer. After the initial "getting your feet wet" trio of Symphonies 1-3, we have the Lush Romanticism of 4-8, then the mature Rhenish and Gothique.

The Seventh has always had a special place in my heart. Shortly after our marriage, my wife arranged a trip to Williamsburg where we stayed in an "authentic" old home - but that's another story. The night we arrived she noted a concert at the church. The main piece - I forgot the organist - was Widor's Seventh, and hearing this enormous work in a small church was a sensory delight. The fires for big, Romantic works are still burning bright but the in some areas the portents are present for the next level.

The Gothique (# 9) does not startle but it is a superbly crafted work that grows on one the more it is heard. In parts, it is contemplative in tone, but it is complex - much more so than the Romantic pieces. And it is much more of a unified work in that the themes are inter-related and reoccurring. Again, Van Oosten's playing - and the sound of the organ - are both tops.

Another Gold Medal.......2003-07-07

This latest CD (following the remakes of Volumes 1, 2 and 3 from the LP) is again perfect as an example of Widor's last phase as an organist. After the initial "getting your feet wet" trio of Symphones 1-3, we have the Lush Romanticism of 4-8, then the mature Rhenish and Gothique.

The Seventh has always had a special place in my heart. Shortly after our marriage, my wife arrange a trip to Williamsburg where we stayed in an "authentic" old home - but that's another story. The night we arrived she noted a concert at the church. The main piece - I forgot the organist - was Widor's Seventh, and hearing this enormous work in a small church was a sensory delight. The fires for big, Romantic works are still burning bright but the in some areas the portents are present for the next level.

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Sonata No. 8 In C Minor, Op. 13 'Pathetique': I. Grave - Allegro di molto e con brio
Sonata No. 8 In C Minor, Op. 13 'Pathetique': II. Adagio cantabile
Sonata No. 8 In C Minor, Op. 13 'Pathetique': III. Rondo. Allegro
Impromptu In G-flat Major, Op. 90 (D899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C-sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes - From Book II: IV. Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes - From Book II: V. Bruyeres. Calme
3 Preludes - From Book II: VI. General Lavine - eccentric.
Poeme In F-sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico

Tracks:

Piano Sonata No.2 In B- Flat, Op.35: I. Grave- Doppio movimento
Piano Sonata No.2 In B- Flat, Op.35: II. Scherzo
Piano Sonata No.2 In B- Flat, Op.35: III. Marche funebre. Lento
Piano Sonata No.2 In B- Flat, Op.35: IV. Finale. Presto
Etude-Tableau In C, Op.33 No.2: Allegro
Etude-Tableau In C, Op.33 No.2: Appassionato
Arabeske In C, Op.18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: 1. Von fremden Landern und Menschen
KINDERSZENEN, OP.15: 2. Kuriose Geschichte
KINDERSZENEN, OP.15: 3. Hansche-Mann
KINDERSZENEN, OP.15: 4. Bittendes Kind
KINDERSZENEN, OP.15: 5. Gluckes genug
KINDERSZENEN, OP.15: 6. Wichtige Begbenheit
KINDERSZENEN, OP.15: 7. Traumerei
KINDERSZENEN, OP.15: 8. Am Kamin
KINDERSZENEN, OP.15: 9. Ritter vom Steckenpferd
KINDERSZENEN, OP.15: 10. Fast zu ernst
KINDERSZENEN, OP.15: 11. Furchtenmachen
KINDERSZENEN, OP.15: 12. Kind im Einschlummern
KINDERSZENEN, OP.15: 13. Der Dichter spricht
Toccata In C, Op.7: Allegro
Hungarian Rhapsody No.19 In D Minor: Lento patetico (Lassan)- Vivace (Friska)

Tracks:

Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Allegretto
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Vivo
Keyboard Sonatas: Allegro

Tracks:

Toccata, Adagio And Fugue In C, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C, Op.17: I. Durchaus phantastisch und leidenschalflich vorzutragen
Fantasie In C, Op.17: II. Massig. Durchaus energisch
Fantasie In C, Op.17: III. Langsam getragen. Durchweg leise zu halten
Piano Sonata No.9, Op.68 'Black Mass': Moderato quasi andante-Molto meno vivo-Allegro-Piu vivo-Allegro...
Poeme In F-Sharp Major, Op.32 No.1: Andante cantibile

Tracks:

Mazurka In C-sharp Minor, Op. 30. No. 4: Allegretto
Etude In F major, Op. 10 No. 8: Allegro
Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Serenade For The Doll. Allegro ma non troppo
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In A-Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K.331: I. Tema.Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. Rondo alla Turca
Polonaise-Fantaisie In A-Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Piano Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Piano Sonata In F Major, Hob. XVI: 23: I. Allegro
Piano Sonata In F Major, Hob. XVI: 23: II. Adagio
Piano Sonata In F Major, Hob. XVI: 23: III. Finale
Blumenstuck In D-Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo.
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Tracks:

Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Nocturne In F Minor, Op. 55 No. 1: Andante
Polonaise In F-Sharp Minor, Op. 44: Tempo di polacca - Doppio movimento, tempo di Mazurka - Tempo I
Sonata In E major, K 380 (L23): Andante commodo
Sonata In G major, K 55 (L335): Allegro
Arabeske In C Major, Op. 18: Leicht und zart
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico
Traumerei
Variations On A Theme From Bizet's Opera 'Carmen'

Tracks:

Sonata In E-Flat Major, Op. 12 No. 2: III. Rondo
Adagio sostenuto In F Major
Sonata In B-Flat Major, Op. 25 No. 3: II. Rondo
Sonata In A Major, Op. 50 No. 1: II. Adagio
Corale Prelude 'Lch ruf zu dir, Herr Jesu Christ'
Sonata In F-Sharp Major, K 319 (L35): Allegro
Sonata In G Major, K 260 (L124): Allegro
Sonata In C Major, HOB. XVI: 48: I. Andante con espressione
Sonata In C major, Hob. XVI:48: II. Rondo
Sonata No. 28 In A Major, Op. 101: I. Allegretto ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla Marcia
Sonata No. 28 In A Major, Op. 101: III. Adagio ma non troppo, con affetto - Allegro

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto
II. Allegretto
Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2'Moonlight': III. Presto agitato
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': I. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': II. Introduzione. Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': III. Rondo. Allegro moderato - Prestissimo
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': I. Allegro assai
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': II. Andante con moto -attacca
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': III. Allegro, ma non troppo - Presto

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude in G-flat major, Op. 10 No. 5: Vivace
Introduction & Rondo In E-Flat Major, Op. 16: Introduzione. Andante - Rondo. Allegro vivace
Waltz in A minor, Op. 34 No. 2: Lento
Polonaise in A-flat Major, Op. 53: Maestoso
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelidu In B Minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka In F Minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations On A Theme By Clara Wieck From Sonata No. 3 In F Minor,Op. 14: Andantino
Kreisleriana, Op. 16: I. Ausserst bewegt
Kreisleriana, Op. 16: II.Sehr innig
Kreisleriana, Op. 16: III. Sehr aufgeregt
Kreisleriana, Op. 16: IV. Sehr langsam
Kreisleriana, Op. 16: V. Sehr lebhaft
Kreisleriana, Op. 16: VI. Sehr langsam
Kreisleriana, Op. 16: VII. Sehr rasch
Kreisleriana, Op. 16: VIII. Schnell und spielend

Tracks:

Impromptu In A-Flat Major Op. 90 (D899) No. 4: Allegretto
Impromptu In F Minor Op. 142 (D935) No. 1: Allegro moderato
Impromptu In A-Flat Major Op. 142 (935) No. 2: Allegretto
Impromptu In E-Flat Major Op. 90 (D899) No. 2: Allegro
Consolation In E Major S. 172 (R.12) No. 2
Pour les arpeges composes: Dolce e lusingando
La terrasse des audiences du clair de lune: Lent
Etude In A Minor Op. 104b No. 3: Allegro vivace
Scherzo & March S. 177 (R.20)

Tracks:

Feuillet d'album In E-Flat Major Op. 45 No. 1: Andante piacevole
Etude In F-Sharp Minor Op. 8 No. 2: A capriccio, con forza
Etude In B-Flat Minor Op. 8 No. 11: Andante cantabile
Etude In D-Flat Major Op. 8 No. 10: Allegro
Etude In A-Flat Major Op. 8 No. 8: Lento (Tempo rubato)
Etude In F-Sharp Major Op. 42 No 3: Prestissimo
Etude In F-Sharp Major Op. 42 No. 4: Andante
Etude In C-Sharp Minor Op. 42 No. 5: Affannato
Etude Op. 65 No. 3: Molto vivace
No. 1: Allegretto
2 Poemes Op. 69: No. 2: Allegretto
Vers la flamme Op. 72: Allegro moderato
Feuillet d'album Op. 58
Fairy Tale In A Major Op. 51 No. 3
Sonata No. 2 In B-Flat Minor Op. 36: I. Allegro agitato
Sonata No. 2 In B-flat, Minor, Op. 36: II. Non allegro
Sonata No. 2 In B-Flat Minor, Op. 36: III. Allegro molto
Prelude In G-Sharp Minor Op. 32 No. 12: Allegro
Moment musical In B Minor Op. 16 No. 3: Andante cantabile
Etude-Tableau In E-Flat Minor Op. 33 No. 5: Non allegro - Presto
Etude-Tableau In C Major Op. 33 No. 2: Allegro
Etude-Tableau In D Major Op. 39 No. 9: Allegro moderato (Tempo di Marcia)

Amazon.com

It may surprise you to learn that, despite his untouchable reputation with the public, Vladimir Horowitz enjoyed a certain dubious reputation with the critics. For many, he was the epitome of the witless virtuoso, all technique and vulgar display, and no brains. There was some truth in this to the extent that he really could be variable on record, but by general consensus his Masterworks recordings show him at his absolute best. Aside from his famous Carnegie Hall concerts from 1965, you get stunning performances of music by Schumann, Haydn, Beethoven, Chopin, Scriabin, and above all, Scarlatti--the composer that Horowitz, more than anyone, put back on the map for pianists the world over. A great set. --David Hurwitz

Customer Reviews:

Horowitz: good. Amazon: good. Sony Classical: BAD........2004-05-24

I bought this set in December, and because I have so many classical CD's (more than 300), it took me 5 months to realize that the set contained TWO volume 8's and NO volume 9's. Worried that it might be too late, I e-mailed Amazon. Their first reply was that the replacement was already on its way (with return shipping paid for as well). Wow, that was a relief!

When I got the new set, I decided to study it closely and make sure that everything was good. It turns out that several of the discs (in both sets) had holes through the aluminum reflective layer -- which seemed to be because it was too thin to begin with. One disc was cracked, and another looked like the aluminum was "rotting out" on the edge. You would think that for $230, Sony Classical would put more quality into their discs. So what good is "Super Bit Mapping" and "High Definition Remastering" if the discs are so cheap that the player will misread the data? And I don't have much confidence that the discs will last many years, either.

Fortunately I got to pick the best discs from the 2 sets, so I won't need to replace this one for another. But I certainly lost respect for Sony Classical.

And kudos to you Amazon; you're really looking out for your customers!

ARE YOU CRAZY RICH OR CRAZY STUPID?.......2002-08-25

Why would any one in the right mind plunk down [money] for 13 CDS by the same pianist? Is it so you can brag about owning 11 years' worth of the same old thing? Or did you get it as a gift designed to impress but not really to listened to? Now you could probably get [money] for it whether you used it or not. Columbia Masterworks should have brought along new and younger talent. For my bet I can't think of many American pianists who are currently recording. Do we have to recycle Schumann, Rachmaninoff, Schubert, Beethoven, Liszt, Chopin, Scriabin, and others over and over? This is the Twenty-first Century. We should at least be thinking of Twentieth Century piano works. I can get 10 CDs by 10 pianists currently recording if I look to Europe.

merely spectacular!.......2001-03-10

I've only had this set about a week and have already indulged three complete listenings; it's a gold mine! - the power of preaching is persuasive in the Temple of Horowitz! I'm taken aback by the unity and continuity of sonics, an excellent and remarkable display of high engineering art. Everything important is here (almost! I wish some of the Scriabin Preludes had been included). There are sketches of incomparable pianism and supreme intelligence in these discs: Liszt's 'Vallee d'Obermann', and the Consolations; Debussy's 'L'isle joyeux' - so 'russian playing french'! - Scriabin's 'Vers le flamme' and the Black Mass sonata - one simply can't climb out of the volcano, it's terrifying and beautiful! - and the Scarlatti and Chopin. Only Gilels approaches Horowitz's indigenous understanding of Chopin. In the course of thirteen discs the glory can start to crash in around you, but at the last moment of endurance along comes 'Serenade of the Doll', or one of the Consolations. The Bach-Busoni is cerebral and fine. Horowitz gets rapped for the wrong romanticism - it's the romanticism of artistic intelligence that his art claims! I love that famous C clunker at the beginning of the Bach-Busoni in the Return to Carnegie Hall recital; more than that, I appreciate how Horowitz played his public pride in it, no retouches, etc. Shrewd, and very real, I think. He was a pianist of enormous humility on the inside, so completely knowing of his gifts - one of the reason his playing was something special. He possessed the often disregarded ability to stand completely outside his playing and admire it as one might a beautiful woman, with complete humility. It affords us the privilege of reaping joy after joy of a remarkable art the likes of which will surely stand true for a long time. 200 bucks is a lot of money, I probably would have thought it too much for the convenience of a collection; I'm glad someone else didn't feel that way, and gave me the set! - now I find it curiously too clever a package to be considered merely a consolidation of recordings into a 'set' - there is something indefinably congruent about these recordings. They fit together with harmonious intent, and shine and shadow the land with a marvelous music. Highest recommendation without reservation.

I have never regretted buying this..........2000-08-22

Considering that this set is devoted to a single instrument played by one artist in a 12-year period, the depth is mind-blowing. If variety is the spice of life, than this set is a very warming set indeed.

For the most part, Horowitz communicates a deep respect for the specific style of each composer: his Scarlatti is done articulately and without any smear with the pedal. His Liszt is demonic. His Rachmaninov is dazzling, with all of the "superfluous" notes (!) and Russian virtuosity in tact. Horowitz's Schumann is sensitive, passionate and Romantic.

And then there are his interpretations of Chopin. To me, Vladimir Horowitz is one of Chopin's best ambassadors. In particular, I draw attention to the Polonaise-Fantaisie in Vol. 3 and the mazurkas and etudes of Vol. 7.

For a good summary of this collection, listen to Vol. 4, "The Legendary 1968 TV Concert." Applause is omitted between selections, and the repertoire is tailored to Horowitz's pianistic gifts.

The first disc of Vol. 3 (Including the Bach-Busoni Toccata and the Schumann Fantasy) is not top-notch piano-playing... It's a little sloppy and inaccurate. I'm sure there are other minor slips elsewhere in this collection, but here they are most obviously seen.

Regardless, this collection is a MUST for Horowitz fans. Save up your money little by little and go and buy it. It is truly the most rewarding purchase of classical music I have ever made.

The greatest 20th Cent. pianist at his best!.......2000-04-15

If you were to take a set of piano music from only one performer to a desert island, this would be the set. Vladimir Horowitz was a pianist of incredible, almost unique, technical prowess capable of creating wonderful piano textures and tone colorings, and possessing his own dark, distinctive sound on a wonderful Steinway he had transported to each of his concerts or studio recording sessions. Of almost limitless ability, he suffered criticism from music critics because he severely limited his performing repertoire and stayed away from the concert stage for several prolonged periods because of his terrible insecurity and stagefright. He was especially criticized in his early years for bravura performances which were brilliant, but loud and not always tasteful. He was known for giving his enthralled audiences what they wanted, but it should be remembered that he championed Scarlatti and almost single-handedly brought him back into the performing world from near-oblivion, and it was Horowitz who premiered several important works by twentieth century composers such as Barber and Khatchaturian. He kept the works of the mysterious and exotic Alexander Scriabin from disappearing from piano benches in the conservatories, and he created some of the most imaginative and thrilling encore transcriptions ever heard in the concert hall. In later years, his repertoire expanded and he played some wonderful Mozart, Haydn, and Beethoven, much of which is featured in this set. The highlight of this disc collection from the early 60's through about 1973 is the historic return concert at Carnegie Hall in 1965. After a self-imposed exile from public performing for 12 years, he made this famous recital which is one of the most memorable in the history of recorded piano performance. Although he made several nerve-induced mistakes in the opening Bach piece, he settled down quickly and delivered a thrilling performance, highlighted, for me, at least, by the Chopin Ballade in G minor, which took away my breath and featured one of the most dazzling climaxes I have ever heard on a piano. His incredible performance possessed a youthful vitality which belied his 62 years. Throughout the other discs in this set one hears Horowitz at his best: still technically awesome yet more musically mature and capable of producing little miracles from pieces well-known, and less-known. No longer pandering to the expectations of the audience, he gave as his encore at the Carnegie Hall return concert, a precious, child-like Traumerei from Kinderszenen. The Schumann featured on these discs includes some of the most beautiful offerings available anywhere of this composer, including a wonderful Fantasy in C and perhaps the best performance ever on record of Kreisleriana. The Schubert impromptus are little miracles, and the Debussy that's thrown in makes us fantasize about the other French music he could have given us! His wonderful Chopin reminds us there are other views besides Rubinstein's to this most-important-of-all piano literature, and his Rachmaninoff is glorious. Performing into his eighties, he was a wonder of music and the 13 discs offered here give a personal record of a dazzling career from his very best years. It might be pointed out that several pieces are offered more than once in the set as they were recorded in several concerts and studio sessions and it is interesting to hear the differences in his performances. One might wish that his piano oeuvre had included more composers and a wider range of pieces, but this collection certainly highlights the work he was best known for, including as it does the various Chopin, Rachmaninoff, Liszt, Schumann, Scarlatti, Scriabin, Bach, Mozart, Haydn, Schubert, Clementi, and Beethoven gems he was noted for throughout his long career. Anyone loving the piano, or just beautiful music must hear these discs!

Average customer rating:

Brilliant Recordings
A- for effort
What can you say?

Psalms of David Complete
Choir of St Paul's Cathedral , and Scott
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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ASIN: B00006GO6J
Release Date: 2002-10-08

Amazon.com

This complete 12-disc survey of The Psalms of David from St. Paul's Cathedral is both a remarkable historical record of Anglican chant at its finest and an astonishing musical experience. Contained here are all 150 psalms in their traditional English garb from the 1549 Book of Common Prayer, with revised or entirely new musical settings as published in The New St. Paul's Cathedral Psalter, edited by the choir's musical director John Scott, itself a revision of the 1875 Cathedral Psalter. As such, these recordings represent the very backbone of the Anglican liturgy, but even a casual listener will be in no doubt that they also offer music that is both contemplative and richly varied when removed from its liturgical context.

The art of "pointing"--or setting--psalm texts has been essayed by many English composers, from William Croft through the Wesleys and William Boyce in earlier times to the great flowering in the late 19th century under Stainer and Barnby, with further contributions from Parry, Stanford, Elgar, Howells, and a host of choirmasters and organists, including Sir David Willcocks and John Scott himself. All are represented here. Recorded throughout in the vast acoustic of their cathedral, the St. Paul's choristers enunciate the words precisely, backed by inventive though unobtrusive organ accompaniment. Taken individually, it's possible to isolate moments when the choir seem to drag their feet or fail to give due weight to the words (Psalm 125, "They that put their trust in the Lord," seems far too subdued, for example), and the massive Psalm 119 is awkwardly split across discs 10 and 11, but overall this set is nothing less than a document of invaluable cultural and musical significance. --Mark Walker

Customer Reviews:

Brilliant Recordings.......2007-06-11

In our view the changes in pointing, and excellent selection of chants, give deeper meanings to the Psalms than those achieved in the "standard?" Parish Psalter.

We found great Spirituality and a wonderful sense of Worship whilst listening to this set. This is often sacrificed for brilliance of musical performance in other recordings.

Unfortunately the "St.Paul's Psalter" is not available (June 2007) but we are told that a new print run may happen within 12 months. This would be a most valuable companion to the recordings when and if it becomes available.

A- for effort.......2006-02-23

This grand undertaking deserves high praise, and I'm struck, listening to chant after chant, how much Anglican chant as it used to be until the changes of the 70s was one of the great Victorian contributions to English life and art. For anyone who wants to hear almost the entire repertoire of Anglican chant deployed in singing the whole book of Psalms, this is an unrivalled source. It is wonderful, too, to hear the Coverdale translation: you realize what the churches have lost by abandoning the proper & regular singing of the Psalms. So one is immensely grateful to Hyperion for putting out this recording. It's not perfect, though.

The rhythmic pacing, though a little slow for my taste, is steady and sensitive, the diction clear, and the organ accompaniment superb (Providing an expressive accompaniment to a choir singing in 4-part free rhythm, and improvising descants to the melody at the same time, isn't easy). And of course there's the cavernous acoustic of St. Paul's, very impressive in the more thunderous psalms. Unfortunately, though, the "forward" style favored for the St. Paul's boys produces a sound that's unpleasantly chesty in the lower registers and reedy in the higher ones. The poorly integrated choral sound caused by this kind of voice-production can be downright unpleasant for anyone used to, or trained in, the classic English choral style. In fact, one has to wonder why this choir was chosen for such a huge project: even allowing for the near-universal decline in standards of vocal training for boys in England, better sounds than this can still be heard.

What can you say?.......2003-01-03

I almost hate to criticize this terrific thing. After all, where else can you get all 150 Psalms in a single collection sung by one of the world's great choirs?

How much do I like it? I bought it *twice*. I originally bought all the CDs separately, before they came out with a single boxed set. They were stolen from my car (and, God willing, maybe they converted some poor thief to Anglican Cathedral Music and got him into church). After they were stolen, I immediately bought them again.

One of the great pleasures of life is listening to the Morning and Evening Psalms while driving to and from work, and making listening a regular feature of Morning and Evening Prayer.

So what's the criticism? The sound is a bit muddy, so the words can be rather difficult to understand without reading along (which is a real problem when driving), and personally, I prefer the Psalter from the 1979 BCP instead of the old one, from the Great Bible. But that's unreasonable. They ARE a British choir after all. Those are the only criticisms.

Tracks:

Le Veau D'Or Est Toujours Debout
Vous Qui Faites L'Endormie
Si Les Filles D'Arles Sont Reines
Voyons: 'Pour Hoffmann'...Dans Les Roles D'Amoureux Langoureux
Scintille, Diamant
Bien Des Jeunes Gens
Lakme, C'est Toi Qui Nous Proteges!
Tra La La...Quand La Flamme De L'Amour
Elle Ne M'Aime Pas
Ah! Malgre Toi, Poete
Parjure!
Louange A Vous
Voyez, Thebains, Voyez - Barbara Hendricks
Dors, O Cite Perverse!
Quand Apparaissent Les Etoiles - Teresa Berganza
Je Suis Le Chevalier Errant - Teresa Berganza
Ecoute, Mon Ami - Teresa Berganza

Tracks:

I. Villanelle
IV. Absence
VI. L'Ile Inconnue
Tendrement Enlaces, Ma Chere Bien-Aimee
Danse Macabre
Clair De Lune
Chanson Romanesque
Chanson Epique
Chanson A Boire
Chanson A Dulcinee
Elegie
I. La Maitresse Volage
II. Chanson A Boire
III. Madrigal
IV. Invocation Aux Parques
V. Couplets Bachiques
VI. L'Offrande
VII. La Belle Jeunesse
VIII. Serenade
Malvina
Wo Ist Er?
Wird Dir Nicht Bange?
Die Frist Ist Um
Herr, Lehre Doch Mich
Libera Me, Domine

Customer Reviews:

Fantastic!.......2005-11-02

This collection represents Jose Van Dam at his best. The two arias from Faust are a little low for him but he sings them with great musicality. The aria from Mireille which is a rarity is sung brilliantly. Mr. Van Dam gets up to those high notes so easily. This collection mostly contains French Repertoire which was ideal for his voice. Several of the arias are rarely performed and I think should be performed more often. The few German selections are very effective as well. I think he was one of the finest Brahms Requiem soloists of all time.

Mr. Van Dam is still singing well at age 65. I think he is one of the finest singers and musicians because everything he sings means something to him internally. That is something that defines a great artist for me. I highly recommend this collection because it is a tool for singers to learn how to pronounce French properly. The diction is so clear that you can practically write it down.

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