![Morgen [Import]](http://images.amazon.com/images/P/B0000DZHJF.01.MZZZZZZZ.jpg)
| 1. Welcome To The Void |
| 2. Of Dreams |
| 3. Beggin Your Pardon (miss Joan) |
| 4. Eternity In Between |
| 5. Shes The Nitetime |
| 6. Love |
Editorial Reviews
Product Description
Reissue of ultra rare but all time favorite psychedelic 60's album from USA. Led by Steven Morgen, who simply named his band Morgen. A true psychedelic artifact originally released on Probe in 1969. Comes with original artwork 'The Scream' from Edvard Munch. 7 tracks. Radioactive. 2003.
I think the transfer is excellent, removing a surprising amount of murk from a 1991 version (I think). In fact, I'm wondering if some distortion hasn't been removed as well, at least in the voice. As for Szell & his orchestras, their playing sounds fresher and lovelier than ever. Instrumental placement in the sound image seems more firm, and details are more clear.
As for the booklet, well, EMI is not one for documentation, and it should be ashamed of itself for wasting our time in the middle of the song texts with ads for their other recordings. However, yes, the texts for these songs are all there, and that is a minor miracle.
So yes, this is a no-brainer purchase. In my view, the improved sound quality does merit purchasing it if one's transfer is prior to 1997.
Schwarzkopf was in her fifties when she recorded these works, and there is a lot to be said for the mature, knowing performance from a soprano voice of that age. It speaks of life's joys and heartaches, and a heart still longing for youthful romance. I seriously doubt that anyone will ever fully eclipse Elisabeth's sheer dramatic intensity in this recording. She transforms herself back into a young girl, yet still retains the dramatic use of her maturity.
This recording has been remastered using Abbey Road's Prism SNS system, which gives the recording a natural soundscape, free of annoying echo or reverb, allowing Schwarzkopf's voice to come forth with astonishing clarity. Simply, it's the best this recording has ever sounded. A bargain price too.
[EMI Classics 7243 5 66908 2 0]
There have been plenty of great versions of the Four Last Songs since Schwarzkopf, the likes of Gundula Janowitz with Herbert Von Karajan and especially the spectacular Jessye Norman with Kurt Masur, yet the Schwarzkopf account can still match any other version in the catalogue for sheer beauty, the tender articulation of words and deep understanding of the music. Jessye Norman surpasses Elizabeth Schwarzkopf for operatic splendour and voluptousness of sound so you definitely need to get that version too. Having several performances of this immortal masterwork is a must!
I recently listened to officials of Israel's principal symphony orchestra being interviewed regarding the Venezuelan prodigy who was conducting the ring of Mahler symphonies in Tel Aviv. Not once was the issue of Mahler-in-Israel mentioned. Clearly, the conductor's reputation has been rehabilitated from its unfortunate association with the Führer and the musical predilections of his comrades-in-murder.
How fortunate, then, that one can celebrate this Deutsche Grammophon re-release of none other than Rafael Kubelik and the Bavarian Radio Symphony Orchestra making their briskly paced way through Mahler's First and then the Lieder without having to say more than a passing word about the constellation of musicians and composer. The performances were recorded in 1968 and 1970, respectively.
The BRSO sounds agile, almost petite, under Kubelik's baton. Those accustomed to linking Mahler to bombast may find themselves pleasantly surprised. The flute in the first movement lingers, but almost nobody else does.
Very fine Mahler, carried off with homeland panache.
Nonetheless this is one of the best performances this symphony has ever received. It's fresh, it's fast and full of life, something that many other slower interpretations tend to forget. I'm positive that Mahler himself would conduct the music in this more upbeat, driving fashion than the more plodding shenanigans of Bernstein or Solti, fine as they may be on their own merits.
If you want to hear a great but little known account of this symphony in wide ranging, high impact digital sound, seek out Andrew Litton's recording on Virgin Classics coupled together with a great performance of Mahler's 9th symphony by Libor Pesek. Other alternatives are of course, Bernstein, Solti, Abbado and the usual suspects. Still for me, this Mahler 1st by Kubelik will never go out of style.
This first symphony's performance is flamboyant, that reflects with lavish idiomatic spirit, the fears, but besides the hopeful and triumphal final climax in the last movement, that finds to Kubelik in the peak of his conductor powers, totally immersed in the core of the work.
A must-buy due, it's a collector item, deeply venerated and famously phrased by several generations of listeners and dilettantes.
The playing is just beautiful. Flourishing, natural lines, and deliciously sonorous tone: its remarkable. Kubelik allows the players to make the most of everything without being too indulgent. The Brass section is especially exciting! The Finale, (Which is one of my dearest) is an historical moment. The communication between the conductor and his orchestra is precise, exact, and astonishing.
Upon first listening, the interpretation will sound very different- I guarantee that. but youll come to love it. Every bit of this recording is very personal and with Mahler, i believe that's important. Kubelik's touches are just right for that perfect character of music.
Underrated, Unrestricted, Unadultered Music-Making. Something that is sadly a rarity in the music world.
While his complete operettas are rarely performed, much of the music Suppe wrote for them has become famous, in particular LIGHT CAVALRY (which we've all heard in countless cartoons) and POET AND PEASANT. Suppe's overtures brim with good humor and infectiously catchy tunes; I would challenge anyone not to be uplifted by this recording.
The over-all technical qualities of this album are excellent. Not only does the (very talented) Slovak State Philharmonic play with enthusiasm, but audiophiles will appreciate the roudy brashness of the sound.
Jarvi's reading is smooth and incisive and the choral parts are wonderful. I've never heard a scarier version of HOTMK. I never even knew that there was a solo vocal part for Peer himself, but here it is.
My only complaint-and it's a tiny one-is that the selections are not in the order that they would appear in Ibsen's play. But that's picking a very small nit indeed.
The soloists on this album are outstanding. I consider baritone Peter Mattei to be the most talented baritone of his type today and his rendition of Peer Gynt's Serenade is nothing short of incredible. Soprano Camilla Tilling as Soveig has a lovely ethereal sound to her voice which is used to great effect in her songs. Tilling has the loveliest female voice I have ever heard. Mezzo Charlotte Hellekant has also grown on me as Anitra. Many of these vocal songs are not included on other versions of Peer Gynt, which is a great shame. The choir, something I don't usually enjoy, is very impressive.
I would rate this CD as by far the best version of Peer Gynt and perhaps my favorite CD of all time. The sound quality of the recording should also be mentioned because it is absolutely stunning.
Secondly, there's the sound. The engineers have achieved quite exceptinally clear, open sonics that I've never heard the like of in Peer Gynt. Even when Jarvi's conducting is ordinary and his Estonian musician ae playing at far less than virtuosic level, the gorgeous sounds coming out of one's speakers remain alluring. As far as completeness goes, the Ruud 2-CD set from Bis is unchallenged.
Together with the recordings by Neeme Jarvi (27 cues; DGG), Marriner (only 12 cues; EMI), Tate (17 cues; EMI), Blomstedt (19 cues; Decca), Dreier (the first truly complete recording of all of the original music (1978); 32 cues, including 'Bridal Procession', 'Solveig's Song' and three 'Norwegian Dances' all of them n o t originally written for the play; Unicorn UKCD + NKFCD) and Ruud (the first complete recording with 29 cues plus all of the dialogue, making a total of 51 cues, coming up on 113 minutes; BIS), these two (1-CD) albums by Paavo Jarvi and Esa-Pekka Salonen are as complete as can get concerning this so called 'incidental' music for the Henrik Ibsen play of Peer Gynt. Nowadays, Peer Gynt is Norway's No. 1 national epic, thereby giving this music extra significance and poignancy. Originally, there are in all some twenty-six numbers of incidental music for the play: almost ninety minutes of music, as can be learned from the booklet-essay. And according to the booklet, twenty of those are on this album; No. 5, 10, 11, 14, 18 and 24 are left out of this recording. 'Solveig's Song' wasn't originally written for the stage play but nonetheless included as such on this CD, so actually 19 original pieces from Peer Gynt, op. 23 are on this album, and not 20. But anyhow, such 'criticism' would amount to nitpicking ;-)
Here I would like to warn the reader that this will be a somewhat one-sided review, as I have only ever heard the Peer Gynt-recordings of Esa-Pekka Salonen, Per Dreier (freshly inspired, very natural performances) and this newest one of Paavo Jarvi. So this review is, for what it is worth, a personal and somewhat subjective approach, leaving out many other alternatives ...
Anyhow, as for the one-CD albums of Peer Gynt, op. 23, the merits of the Salonen/Oslo Philharmonic album (aside from the artistic ones, which are huge, as well as spot on as far as the 'Nordic' atmosphere of the music is concerned) lie in the fact that - up to now - it has been as near 'complete' a rendering of the music for Peer Gynt - as much as fits on one CD - as one might wish, covering the whole dramatic arc of the play from beginning to end (but without any of the spoken dialogue). I believe that this new recording with Paavo Jarvi is even more complete - as could be fitted on one disc - and gives the listener an even better feel of the drama of the play, if only because there is more singing here, namely by Peer Gynt (in the delightful 'Peer Gynt's Serenade'). Also, one hears here seldomly recorded, but wonderfully evocative pieces, such as 'Peer Gynt and the Woman in Green', 'Peer gynt: you can tell great men by the style of their mounts', 'Peer Gynt at the Statue of Memnon' (similar to 'Prelude Act III: Deep in the Coniferous Forest' on the Salonen/Oslo Philharmonic album. Actually it is the same piece, but it was never intended as the prelude to act III) and 'The Shipwreck'. Simply delightful, all this! As are all the soloists - truly, the best one could wish for! - singing in this recording. If I may steal a quote from Tim Ashley, The Guardian, May 13, 2005: "Peter Mattei is the swollen-headed Peer, Camilla Tilling a dignified, unsentimental Solveig and the incomparable Charlotte Hellekant a camp but lethally seductive Anitra." But although Camilla Tilling's Solveig is superb, IMHO she is not as completely involved-sounding or as convincing in the projecting of the troubled mind and heart of (especially the elderly) Solveig as does Barbara Hendricks for Esa-Pekka Salonen.
Even more than Esa-Pekka Salonen's performance with the Oslo Philharmonic Orchestra, this recording offers the listener a more 'true to the letter-performance', as the music is here performed as heard during the play, as witnessed by 'Solveigs vuggevise' ('Solveig's Cradle Song'), where her singing is interlaced with the 'Whitsun Hymn', which, to the ears of this listener, only heigtening the sense of drama and storytelling.
All in all a fantastic album, I believe, and one that brings into focus the drama even more than other recordings of this music. Even though the orchestral playing of the Estonian National Symphony Orchestra is maybe a (slight) nodge below that of the Oslo Philharmonic under Salonen and missing out on the deepest or finer layers of melancholy and dramatic tension (which are indeed touched upon by Salonen, I think), it is warmly sympathetic and more lush (as is the acoustics of the recording venue).
The really adventurous or Peer Gynt-completists (and once taken this step, the all too brief Suites will never be an option again!) should really go for Dreier or Ruud - this last one is said to be simply magnificent (music as well as acting) - but this generous one disc album, with some of the most gorgeous playing and singing, is warmly recommended (at least, in my opinion) to anyone who loves this wonderfully evocative music. Delightful!
Each track on this cd is a perfect union of poetry, melody and technicality. Dame Janet Baker fully immerses herself into each piece, and delivers highly commited, intelligent & emotional performances.
She does not sing to show off. She sings to enlighten, to illuminate, to reveal, to enter into. Her voice carries us off, near to Heaven.
Dame Janet has been neglected of late. This recording shows us why, in these perilous times, we need her more than ever.
Overall, I give this recording five stars. Five for the conductor, five for the composer, and four and a half for the singer. RECOMMENDED!
Before 1991 Hampson had shown his capacity for Mahler, but on this CD he veers between an excellent, deeply felt Wayfarer cycle to a Kindertotenlieder where he struggles just to keep singing--admittedly, it's singing of a plush, refined kind--without finding the right emotional key. I don't find real depth of feeling or the ability to characterize the poetry, which is extremely important in thise songs. Bernstein's conceptions are beautiful, and that may carry the day for many listeners, but this CD is up against Fischer-Dieskau and Furtwangler, Janet Baker and Barbirolli, Kathleen Ferrioer and Bruno Walter. By those exalted standards it barely holds its own.
In the early 1930s, a young Walter Legge began a project of recording Wolf songs on a subscribtion basis to be limited to 500 sets. The recording industry was relatively new, and Wolf, then as now, too little appreciated. The result was an extensive series of recordings of issued between 1931 and 1938 consisting of 145 songs, about one-half Wolf's output, performed by fourteen singers. The Hugo Wolf Society recordings remain a high moment in the recording of song. They were remastered on LPs and, in 1998, in this 5 CD collection which includes previously unreleased selections.
The Wolf Society collection offers an unparalleled opportunity to get to know Wolf's songs performed by artists of the past that might otherwise be unfamiliar to many listeners. The performers include mezzo-soprano Elena Gerhardt, who recorded the initial volume for the society, baritones Herbert Janssen, Gerhard Husch, tenors John McCormack, Karl Erb, and Helge Roswaenge, the basses Alexander Kipnis, Frederich Schorr, and Ludwig Weber, and sopranos Alexandra Trianti, Elizabeth Rethberg, Ria Ginster, Marta Fuchs, and Tiana Lemnitz. The pianists include Conrad Bos, Gerald Moore, Michael Raucheisen, Hans Udo Muller, and Ernest Victor Wolff.
The singers perform in a variety of styles from the highly operatic to the quietly lyrical. There is a Wagnerian performance of Goethe's "Prometheus" by Friedrich Schorr with the London Symphony Orchestra -- the only track using an orchestral accompaniment. The Irish tenor John McCormack shows a more lyrical approach in his renowned performance of Goethe's poem "Ganymed". The sopranos, Alexandra Trianti, Ria Ginster, and Tiana Lemitz have light, clear, bell-like voices. I find the singers on this compilation take a much more individualized, idiosyncratic, and romantic approach to song than do their modern counterparts, who sometimes seem restrained and chaste by comparison.
Each of Wolf's great collections of songs is well-represented. Elena Gerhardt performs songs from each of Wolf's five books, with the exception of the Goethe songs. The young Alexander Kipnis gives a powerful reading of Wolf's three songs from Michaelangelo. The third CD in this collection features many songs from the Italian songbook performed by soprano Ginster, baritone Husch, and bass Kipnis together with recordings from the Spanish songbook by sopranos Rethberg and Ginster and baritone Husch. There are lovely performances by soprano Tiana Lemnitz in the previously uncollected supplementary material, which also includes several Eichendorff songs and a performance of the Goethe-song "Phanomen" by Alexander Kipnis.
There is a great amount of material in this collection, with each of the 5 CDs including in excess of 70 minutes of music. Most of Wolf's songs are highly concentrated and intense. They may prove difficult to the listener coming to them knowing only the lyricism of Schubert. I would not recommend trying to rush through this set at one or two hearings. It is best to take this music in small sections and to listen with text in hand. The compilation includes texts and translations for each of the songs together with good notes about the Wolf Society recording project. There is little discussion about Wolf or about the songs themselves.
This is an essential collection for those who love song, historical recordings, and the music of Hugo Wolf.
Robin Friedman
Did not like the tempo and in one piece one of the instruments played a portion which I would say they played a flat instead of a natural note. This is based on hearing the same pieces played by someone else, it's just my opinion.
Reissue of ultra rare but all time favorite psychedelic 60's album from USA. Led by Steven Morgen, who simply named his band Morgen. A true psychedelic artifact originally released on Probe in 1969. Comes with original artwork 'The Scream' from Edvard Munch. 7 tracks. Radioactive. 2003.
Morgen,Morgen,Radioactive,Heavy Metal,Rock/Pop
Morgen [Import]
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Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss
Gustave Charpentier , Charles Gounod , Jules Massenet , Antonin Dvorak , Friedrich von Flotow , Giacomo Puccini , Erich Wolfgang Korngold , Carl Orff , Richard Strauss , Sergey Rachmaninov , Johann II Strauss , Franz Lehar , Jose Maria Cano , Marie-Joseph Canteloube , Jeffrey Tate , Sir Charles Mackerras , Renée Fleming , English Chamber Orchestra , Osian Ellis , London Voices , and Clive Greensmith Manufacturer: Decca ProductGroup: Music Binding: Audio CD  Canteloube, Joseph
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ASIN: B0000042I6 Release Date: 1998-02-10 |
Tracks:
- Louise (Acte 3): Depuis le jour ou je me suis donnee
- Faust (Acte 3 - Air des bijoux): O Dieu! que de bijous!... Ah! Je ris de me voir si belle (Air des bijoux - Jewel Song)
- Manon (Acte 3): Je marche sur tous les chemins... Obeissons... Profitons bien de la jeunesse (Gavotte)
- Gypsy Melodies, Op. 55 B104 No. 4: Songs My Mother Taught Me
- Martha (Act 2 - No. 8 The Last Rose): 'Tis The Last Rose Of Summer
- La rondine (Act 1): Chi il bel sogno di Doretta
- Die tote Stadt (Act 1 - Mariettas Lied): Gluck, das mir verblieb
- Carmina Burana (No. 21): In trutina
- Vier Lieder, Op. 27 No. 4: Morgen!
- Vocalise, Op. 34 No. 14: Vocalise
- Die Fiedermaus (Act 2 - Csardas): Klange der Heimat (Csardas)
- Die lustige Witwe (Act 2 - Vilja-Lied): Es lebt' eine Vilja (Vilja-Lied)
- LUNA: Epilogo
- Chants d'Auvergne, Series 1: Bailero
Amazon.com essential recording
This vocal recital certainly lives up to its title, perhaps too well. It's a collection of arias and songs Fleming has sung for years that for some may be too much frosting and not enough cake. Surely, her performances are rich with interpretive nuances, wonder-filled portamentos and word colorings that reflect a long history with this repertoire, which ranges from Charpentier's "Depuis le jour" to Rachmaninoff's "Vocalise." Some may find Fleming a bit much, but agree with her or not, she's far more interesting than singers who keep a safe, discreet distance from the music. --David Patrick StearnsCustomer Reviews:
The best of the best........2007-04-11
Beautiful and creamy voice.......2006-02-28
Renee Fleming;THE BEAUTIFUL VOICE.......2006-01-30
The most gorgeous soprano voice I've ever heard.......2006-01-02
Wow!!!.......2005-09-28
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Strauss: Four Last Songs/12 Orchestral Songs
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Strauss
| Strauss, Richard
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ASIN: B00000GCAE Release Date: 1999-01-12 |
Tracks:
- Four Last Songs, Op. Posth.: Fruhling
- Four Last Songs, Op. Posth.: September
- Four Last Songs, Op. Posth.: Beim Schlafengehem
- Four Last Songs, Op. Posth.: Im Abendrot
- 12 Songs: Mutterandelei, Op. 43, No. 2
- 12 Songs: Waldseligkeit, Op. 49, No. 1
- 12 Songs: Zueignung, Op. 10, No. 1
- 12 Songs: Freundliche Vision, Op. 48, No. 1
- 12 Songs: Die Heiligen Drei Konige, Op. 56, No. 6
- 12 Songs: Rube, Meine Seele, Op. 27, No. 1
- 12 Songs: Meinem Kinde, Op. 37, No. 3
- 12 Songs: Wiegenlied, Op. 41, No. 1
- 12 Songs: Morgen, Op. 27, No. 4
- 12 Songs: Das Bachlein, Op. 88, No. 1
- 12 Songs: Die Rosenbande, Op. 36, No. 1
- 12 Songs: Winterweihe, Op. 48, No. 4
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Elisabeth Schwarzkopf was one of those singers whom one either loves or hates. She was a "stylist," who inflected every phrase, every note in her urge to communicate what she considered to be the meaning of the text. Others feel that the only thing she communicated was her own need to impress people with her ability to communicate, and I believe she often forgot the difference between art and artfulness. Be that as it may, she was an outstanding Strauss singer, and her performance of the Four Last Songs, in particular, is legendary. Of course, having George Szell on the podium doesn't hurt either. He insures that the music shows the singer in the best possible light. --David HurwitzCustomer Reviews:
This is just a review of the transfer and booklet.......2007-03-30
I think the transfer is excellent, removing a surprising amount of murk from a 1991 version (I think). In fact, I'm wondering if some distortion hasn't been removed as well, at least in the voice. As for Szell & his orchestras, their playing sounds fresher and lovelier than ever. Instrumental placement in the sound image seems more firm, and details are more clear.
As for the booklet, well, EMI is not one for documentation, and it should be ashamed of itself for wasting our time in the middle of the song texts with ads for their other recordings. However, yes, the texts for these songs are all there, and that is a minor miracle.
So yes, this is a no-brainer purchase. In my view, the improved sound quality does merit purchasing it if one's transfer is prior to 1997.
A wiser Schwarzkopf in one of her best latter recordings.......2006-11-04
Schwarzkopf was in her fifties when she recorded these works, and there is a lot to be said for the mature, knowing performance from a soprano voice of that age. It speaks of life's joys and heartaches, and a heart still longing for youthful romance. I seriously doubt that anyone will ever fully eclipse Elisabeth's sheer dramatic intensity in this recording. She transforms herself back into a young girl, yet still retains the dramatic use of her maturity.
This recording has been remastered using Abbey Road's Prism SNS system, which gives the recording a natural soundscape, free of annoying echo or reverb, allowing Schwarzkopf's voice to come forth with astonishing clarity. Simply, it's the best this recording has ever sounded. A bargain price too.
[EMI Classics 7243 5 66908 2 0]
HEAVENLY.......2006-09-14
Schwarzkopf and Szell Team Up For An Incandescent Strauss Record.......2006-09-09
There have been plenty of great versions of the Four Last Songs since Schwarzkopf, the likes of Gundula Janowitz with Herbert Von Karajan and especially the spectacular Jessye Norman with Kurt Masur, yet the Schwarzkopf account can still match any other version in the catalogue for sheer beauty, the tender articulation of words and deep understanding of the music. Jessye Norman surpasses Elizabeth Schwarzkopf for operatic splendour and voluptousness of sound so you definitely need to get that version too. Having several performances of this immortal masterwork is a must!
A thing of beauty ..........2006-02-06
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Gustav Mahler: Symphony No. 1 / Songs of a Wayfarer - Dietrich Fischer-Dieskau / Bavarian Radio Symphony Orchestra / Rafael Kubelik
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Mahler
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ASIN: B000001GX9 Release Date: 1997-05-13 |
Tracks:
- Symphonie No. 1: Symphonie No. 1: 1. Langsam. Schleppend. Wie ein Naturlaut - Im Anfang sehr gemachlich
- Symphonie No. 1: Symphonie No. 1: 2. Kraftig bewegt, doch nicht zu schnell - Trio. Recht gemachlich
- Symphonie No. 1: Symphonie No. 1: 3. Feierlich und gemessen, ohne zu schleppen
- Symphonie No. 1: Symphonie No. 1: 4. Sturmisch bewegt
- Songs of a Wayfarer: Songs of a Wayfarer : 1. Wenn mein Schartz Hochzeit macht
- Songs of a Wayfarer: Songs of a Wayfarer : 2. Ging heut morgen uber Feld
- Songs of a Wayfarer: Songs of a Wayfarer : 3. Ich hab'ein gluhend Messer
- Songs of a Wayfarer: Songs of a Wayfarer : 4. Die zwei blauden Augen
Amazon.com essential recording
Here's a delightful coupling: Mahler's First Symphony and the song cycle that donated many of its themes to the larger work. Best of all, both performances are superb. Rafael Kubelik is the dark horse among Mahler conductors. His interpretations are always fresh, unforced, and seemingly without exaggeration. However, he knows how to build a climax, and his generally swift tempos never permit a minute's boredom. There are many moments to cherish in his performance of the symphony, not least the delicious woodwind playing and the tangy trumpets in the third movement's Fiddler on the Roof music. Reissued at midprice in excellently remastered sound--better than most new digitals in many respects--this is a performance that remains one of the best, and as a coupling it's unbeatable. --David HurwitzCustomer Reviews:
Dieskau Does Mahler.......2007-07-23
Mahler Universal.......2007-01-04
I recently listened to officials of Israel's principal symphony orchestra being interviewed regarding the Venezuelan prodigy who was conducting the ring of Mahler symphonies in Tel Aviv. Not once was the issue of Mahler-in-Israel mentioned. Clearly, the conductor's reputation has been rehabilitated from its unfortunate association with the Führer and the musical predilections of his comrades-in-murder.
How fortunate, then, that one can celebrate this Deutsche Grammophon re-release of none other than Rafael Kubelik and the Bavarian Radio Symphony Orchestra making their briskly paced way through Mahler's First and then the Lieder without having to say more than a passing word about the constellation of musicians and composer. The performances were recorded in 1968 and 1970, respectively.
The BRSO sounds agile, almost petite, under Kubelik's baton. Those accustomed to linking Mahler to bombast may find themselves pleasantly surprised. The flute in the first movement lingers, but almost nobody else does.
Very fine Mahler, carried off with homeland panache.
Fantastic Performance, Recording Lacks Bass.......2006-09-01
Nonetheless this is one of the best performances this symphony has ever received. It's fresh, it's fast and full of life, something that many other slower interpretations tend to forget. I'm positive that Mahler himself would conduct the music in this more upbeat, driving fashion than the more plodding shenanigans of Bernstein or Solti, fine as they may be on their own merits.
If you want to hear a great but little known account of this symphony in wide ranging, high impact digital sound, seek out Andrew Litton's recording on Virgin Classics coupled together with a great performance of Mahler's 9th symphony by Libor Pesek. Other alternatives are of course, Bernstein, Solti, Abbado and the usual suspects. Still for me, this Mahler 1st by Kubelik will never go out of style.
An amazing performance that plainly justifies its cult status!.......2006-07-07
This first symphony's performance is flamboyant, that reflects with lavish idiomatic spirit, the fears, but besides the hopeful and triumphal final climax in the last movement, that finds to Kubelik in the peak of his conductor powers, totally immersed in the core of the work.
A must-buy due, it's a collector item, deeply venerated and famously phrased by several generations of listeners and dilettantes.
A Poignant Rendition by a Musical Painter.......2006-06-12
The playing is just beautiful. Flourishing, natural lines, and deliciously sonorous tone: its remarkable. Kubelik allows the players to make the most of everything without being too indulgent. The Brass section is especially exciting! The Finale, (Which is one of my dearest) is an historical moment. The communication between the conductor and his orchestra is precise, exact, and astonishing.
Upon first listening, the interpretation will sound very different- I guarantee that. but youll come to love it. Every bit of this recording is very personal and with Mahler, i believe that's important. Kubelik's touches are just right for that perfect character of music.
Underrated, Unrestricted, Unadultered Music-Making. Something that is sadly a rarity in the music world.
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Suppé: Famous Overtures
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Overtures
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ASIN: B0000014FP Release Date: 1997-02-04 |
Tracks:
- The Beautiful Galatea
- Light Cavalry
- Fatinitza
- Bocaccio Marsch
- Fortune's Labyrinth
- Morning, Noon And Night In Vienna
- Jolly Robbers
- Queen Of Spades
- Gay Blades
- Poet And Peasant
Customer Reviews:
Well-recorded, jolly music.......2006-06-19
While his complete operettas are rarely performed, much of the music Suppe wrote for them has become famous, in particular LIGHT CAVALRY (which we've all heard in countless cartoons) and POET AND PEASANT. Suppe's overtures brim with good humor and infectiously catchy tunes; I would challenge anyone not to be uplifted by this recording.
The over-all technical qualities of this album are excellent. Not only does the (very talented) Slovak State Philharmonic play with enthusiasm, but audiophiles will appreciate the roudy brashness of the sound.
excellent value.......2000-05-29
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Grieg: Peer Gynt
Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD Grieg, Edvard
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ASIN: B0007Z47JI Release Date: 2005-06-07 |
Tracks:
- No. 1 At The Wedding (Prelude To Act I)
- No. 2 Halling
- No. 4 The Abduction Of The Bride
- No. 6 Peer Gynt And The Woman In Green
- No. 7 Peer Gynt: 'You Can Tell Great Men By The Style Of Their Mounts!'
- No. 3 Springar
- No. 8 In The Hall Of The Mountain King
- No. 9 Dance Of The Mountain King's Daughter
- No. 12 The Death Of Ase (Prelude To Act III)
- No. 13 Morning Mood (Prelude To Act IV)
- No. 15 Arabian Dance
- No. 16 Anitra's Dance
- No.17 Peer Gynt's Serenade
- No. 19 Solveig's Song
- No. 20 Peer Gynt At The Statue Of Memnon
- No. 21 Peer Gynt's Homecoming. Stormy Evening On The Sea (Prelude To Act V)
- No. 22 The Shipwreck
- No. 23 Solveig Sings In The Hut
- No. 25 Whitsun Hymn: 'O Blessed Morning'
- No. 26 Solveig's Cradle Song
Customer Reviews:
The Whole Thing.......2007-05-10
Jarvi's reading is smooth and incisive and the choral parts are wonderful. I've never heard a scarier version of HOTMK. I never even knew that there was a solo vocal part for Peer himself, but here it is.
My only complaint-and it's a tiny one-is that the selections are not in the order that they would appear in Ibsen's play. But that's picking a very small nit indeed.
Hauntingly Beautiful.......2007-03-11
The soloists on this album are outstanding. I consider baritone Peter Mattei to be the most talented baritone of his type today and his rendition of Peer Gynt's Serenade is nothing short of incredible. Soprano Camilla Tilling as Soveig has a lovely ethereal sound to her voice which is used to great effect in her songs. Tilling has the loveliest female voice I have ever heard. Mezzo Charlotte Hellekant has also grown on me as Anitra. Many of these vocal songs are not included on other versions of Peer Gynt, which is a great shame. The choir, something I don't usually enjoy, is very impressive.
I would rate this CD as by far the best version of Peer Gynt and perhaps my favorite CD of all time. The sound quality of the recording should also be mentioned because it is absolutely stunning.
Good-enough readings but outstanding sound.......2007-02-21
Secondly, there's the sound. The engineers have achieved quite exceptinally clear, open sonics that I've never heard the like of in Peer Gynt. Even when Jarvi's conducting is ordinary and his Estonian musician ae playing at far less than virtuosic level, the gorgeous sounds coming out of one's speakers remain alluring. As far as completeness goes, the Ruud 2-CD set from Bis is unchallenged.
Passionate.......2006-08-18
Maybe this is THE (one disc-) Peer Gynt album to own ..........2006-02-15
Together with the recordings by Neeme Jarvi (27 cues; DGG), Marriner (only 12 cues; EMI), Tate (17 cues; EMI), Blomstedt (19 cues; Decca), Dreier (the first truly complete recording of all of the original music (1978); 32 cues, including 'Bridal Procession', 'Solveig's Song' and three 'Norwegian Dances' all of them n o t originally written for the play; Unicorn UKCD + NKFCD) and Ruud (the first complete recording with 29 cues plus all of the dialogue, making a total of 51 cues, coming up on 113 minutes; BIS), these two (1-CD) albums by Paavo Jarvi and Esa-Pekka Salonen are as complete as can get concerning this so called 'incidental' music for the Henrik Ibsen play of Peer Gynt. Nowadays, Peer Gynt is Norway's No. 1 national epic, thereby giving this music extra significance and poignancy. Originally, there are in all some twenty-six numbers of incidental music for the play: almost ninety minutes of music, as can be learned from the booklet-essay. And according to the booklet, twenty of those are on this album; No. 5, 10, 11, 14, 18 and 24 are left out of this recording. 'Solveig's Song' wasn't originally written for the stage play but nonetheless included as such on this CD, so actually 19 original pieces from Peer Gynt, op. 23 are on this album, and not 20. But anyhow, such 'criticism' would amount to nitpicking ;-)
Here I would like to warn the reader that this will be a somewhat one-sided review, as I have only ever heard the Peer Gynt-recordings of Esa-Pekka Salonen, Per Dreier (freshly inspired, very natural performances) and this newest one of Paavo Jarvi. So this review is, for what it is worth, a personal and somewhat subjective approach, leaving out many other alternatives ...
Anyhow, as for the one-CD albums of Peer Gynt, op. 23, the merits of the Salonen/Oslo Philharmonic album (aside from the artistic ones, which are huge, as well as spot on as far as the 'Nordic' atmosphere of the music is concerned) lie in the fact that - up to now - it has been as near 'complete' a rendering of the music for Peer Gynt - as much as fits on one CD - as one might wish, covering the whole dramatic arc of the play from beginning to end (but without any of the spoken dialogue). I believe that this new recording with Paavo Jarvi is even more complete - as could be fitted on one disc - and gives the listener an even better feel of the drama of the play, if only because there is more singing here, namely by Peer Gynt (in the delightful 'Peer Gynt's Serenade'). Also, one hears here seldomly recorded, but wonderfully evocative pieces, such as 'Peer Gynt and the Woman in Green', 'Peer gynt: you can tell great men by the style of their mounts', 'Peer Gynt at the Statue of Memnon' (similar to 'Prelude Act III: Deep in the Coniferous Forest' on the Salonen/Oslo Philharmonic album. Actually it is the same piece, but it was never intended as the prelude to act III) and 'The Shipwreck'. Simply delightful, all this! As are all the soloists - truly, the best one could wish for! - singing in this recording. If I may steal a quote from Tim Ashley, The Guardian, May 13, 2005: "Peter Mattei is the swollen-headed Peer, Camilla Tilling a dignified, unsentimental Solveig and the incomparable Charlotte Hellekant a camp but lethally seductive Anitra." But although Camilla Tilling's Solveig is superb, IMHO she is not as completely involved-sounding or as convincing in the projecting of the troubled mind and heart of (especially the elderly) Solveig as does Barbara Hendricks for Esa-Pekka Salonen.
Even more than Esa-Pekka Salonen's performance with the Oslo Philharmonic Orchestra, this recording offers the listener a more 'true to the letter-performance', as the music is here performed as heard during the play, as witnessed by 'Solveigs vuggevise' ('Solveig's Cradle Song'), where her singing is interlaced with the 'Whitsun Hymn', which, to the ears of this listener, only heigtening the sense of drama and storytelling.
All in all a fantastic album, I believe, and one that brings into focus the drama even more than other recordings of this music. Even though the orchestral playing of the Estonian National Symphony Orchestra is maybe a (slight) nodge below that of the Oslo Philharmonic under Salonen and missing out on the deepest or finer layers of melancholy and dramatic tension (which are indeed touched upon by Salonen, I think), it is warmly sympathetic and more lush (as is the acoustics of the recording venue).
The really adventurous or Peer Gynt-completists (and once taken this step, the all too brief Suites will never be an option again!) should really go for Dreier or Ruud - this last one is said to be simply magnificent (music as well as acting) - but this generous one disc album, with some of the most gorgeous playing and singing, is warmly recommended (at least, in my opinion) to anyone who loves this wonderfully evocative music. Delightful!
![Haydn: The Masterworks [Box Set]](http://www.germanelectronics88.com/noimage.gif)
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Haydn: The Masterworks [Box Set]
Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD Trios
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ASIN: B00062FLJM Release Date: 2004-11-30 |
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The Very Best of Janet Baker
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B00005UUOW Release Date: 2002-04-09 |
Tracks:
- Christmas Oratorio: Bereite Dich, Zion
- Messiah: He Was Despised
- Elijah: O Rest In The Lord
- Alto Rhapsody
- Ich Bin Der Welt Abhanden Gekommen
- L'Invitation Au Voyage
- Pie Jesu (From The Requieum Op.9)
- Sea Pictures Op.37: I. Sea Slumber-Song
- Sea Pictures Op.37: II. In Haven
- Sea Pictures Op.37: III. Sabbath Morning At Sea
- Sea Pictures Op.37: IV. Where Corals Lie
- Sea Pictures Op.37: V. The Swimmer
- The Angel's Farewell - Ambrosian Singers
Tracks:
- Linden Lea
- A Boy Was Born, Op.3: Corpus Christi Carol
- Pretty Ring Time
- Prison
- Soir
- Clair De Lune
- Ave Maria (Ellens Gesang III)
- Gretchen Am Spinnrade
- Wiegenlied (Schlafe, Schlafe)
- Die Forelle
- Auf Dem Wasser Zu Singen
- An Die Musik
- An Sylvia
- Nacht Und Traume
- Heidenroslein
- Du Bist Die Ruh'
- Auf Flugeln Des Gesanges
- Liederkreis, Op.39: Mondnacht
- Frauenliebe Und -Leben Op.42: Du Ring An Meinem Finger
- Geistliches Wiegenlied
- Befreit
- Morgen!
Amazon.com
While it is impossible to really squeeze The Very Best of Janet Baker onto just two CDs, this two and a half hour anthology is a fine portrait of the British mezzo-soprano. Central to CD 1 is Elgar's Sea Pictures, a definitive account with the London Symphony Orchestra conducted by Sir John Barbirolli. While other British music is represented by Vaughan Williams's "Linden Lea," Britten's "Corpus Christie Carol," and Warlock's "Pretty Ring Time," CD 2 balances the program with 10 Schubert songs accompanied at the piano by either Gerald Moore or Geoffrey Parsons, which range from "Ave Maria" to Shakespeare. The set lends equal weight to orchestral and more intimate song, as well as to works in English--a very moving reading of Handel's "He was despised" from Messiah--and European landmarks, including Mendelssohn's On Wings of Song and Brahms's Alto Rhapsody, the latter with a superlative London Philharmonic Orchestra under Sir Adrian Boult. In an age of technically dazzling but sometimes bland singers, this release is a reminder of emotionally intense musicianship that retains vocal clarity and commitment to the composer's intentions over superstar ego. The word great is often used all too easily, but it could not be more appropriate for this outstanding collection of a great singer. --Gary S. DalkinCustomer Reviews:
The Very Best of Janet Baker is simply the very best!.......2005-02-09
Grace Incarnate.......2002-09-02
Each track on this cd is a perfect union of poetry, melody and technicality. Dame Janet Baker fully immerses herself into each piece, and delivers highly commited, intelligent & emotional performances.
A Rare & Glorious Singer.......2002-06-10
She does not sing to show off. She sings to enlighten, to illuminate, to reveal, to enter into. Her voice carries us off, near to Heaven.
Dame Janet has been neglected of late. This recording shows us why, in these perilous times, we need her more than ever.
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Mahler: Lieder eines fahrenden Gesellen; Kindertotenlieder; Rückert-Lieder
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Mahler
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ASIN: B000001GET Release Date: 1991-09-12 |
Tracks:
- Songs Of A Wayfarer: 1. Wenn mein Schatz Hochzeit macht
- Songs Of A Wayfarer: 2. Ging heut' morgen ubers Feld
- Songs Of A Wayfarer: 3. Ich hab' ein gluhend Messer
- Songs Of A Wayfarer: 4. Die zwei blauen Augen
- Songs On The Death Of Children: 1. Nun will die Sonn' so hell aufgehn
- Songs On The Death Of Children: 2. Nun seh' ich wohl, warum so dunkle Flammen
- Songs On The Death Of Children: 3. Wenn dein Mutterlein
- Songs On The Death Of Children: 4. Oft denk' ich, sie sind nur ausgegangen
- Songs On The Death Of Children: 5. In diesem Wetter, in diesem Braus
- 5 Lieder nach Gedichten von Friedrich Ruckert: 1. Liebst du um Schonheit
- 5 Lieder nach Gedichten von Friedrich Ruckert: 3. Blicke mir nicht in die Lieder
- 5 Lieder nach Gedichten von Friedrich Ruckert: 2. Ich atmet' einen linden Duft
- 5 Lieder nach Gedichten von Friedrich Ruckert: 4. Um Mitternacht
- 5 Lieder nach Gedichten von Friedrich Ruckert: 5. Ich bin der Welt abhanden gekommen
Customer Reviews:
One of the Greatest Mahler Lieder Recitals.......2007-07-07
On The Kindertotenlieder Performance.......2007-02-23
Grieving.......2007-01-09
Wonderful performance.......2006-12-30
Overall, I give this recording five stars. Five for the conductor, five for the composer, and four and a half for the singer. RECOMMENDED!
This is 70% conducting, 30% singing.......2006-03-22
Before 1991 Hampson had shown his capacity for Mahler, but on this CD he veers between an excellent, deeply felt Wayfarer cycle to a Kindertotenlieder where he struggles just to keep singing--admittedly, it's singing of a plush, refined kind--without finding the right emotional key. I don't find real depth of feeling or the ability to characterize the poetry, which is extremely important in thise songs. Bernstein's conceptions are beautiful, and that may carry the day for many listeners, but this CD is up against Fischer-Dieskau and Furtwangler, Janet Baker and Barbirolli, Kathleen Ferrioer and Bruno Walter. By those exalted standards it barely holds its own.
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The Hugo Wolf Society - The Complete Edition 1931-1938
Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD All Works by Wolf
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ASIN: B000009OQC Release Date: 2002-11-05 |
Tracks:
- Moerike-Lieder: 8. Begegnung
- Moerike-Lieder: 38. Lied vom Winde
- Moerike-Lieder: 15. Auf einer Wanderung
- Moerike-Lieder: 41. Rat einer Alten
- Spanisches Liederbuch: 12. In dem Schatten meiner Locken
- Moerike-Lieder: 37. Heimweh (Anders wird die Welt)
- Spanisches Liederbuch: 4. Die ihr schwebet um diese Palmen
- Spanisches Liederbuch: 6. Ach, des Knaben Augen
- Spanisches Liederbuch: Nun wandre, Maria
- Moerike-Lieder: 46. Gesang Weylas
- Spanisches Liederbuch: 9. Herr, was traegt der Boden hier
- Italiensches Liederbuch: 1. Auch kleine Dinge
- Moerike-Lieder: 7. Das verlassene Maegdlein
- Eichendorff-Lieder: 4. Das Staendchen
- Spanisches Liederbuch: Wenn du zu den Blumen gehst
- Italiensches Liederbuch: 34. Und steht Ihr frueh am Morgen auf
- Italiensches Liederbuch: 16. Ihr jungen Leute
- Italiensches Liederbuch: 10. Du denkst mit einem Faedchen
- Italiensches Liederbuch: 12. Nein, junger Herr
- Goethe-Lieder: 1-3 Drei Harfenspieler: 1: Wer sich der Einsamkeit ergibt
- Goethe-Lieder: 1-3 Drei Harfenspieler: 2: An die Tueren will ich schleichen
- Goethe-Lieder: 1-3 Drei Harfenspieler: 3: Wer nie sein Brot
- Goethe-Lieder: 1-3 Drei Harfenspieler: 29. Anakreons Grab
- Goethe-Lieder: 1-3 Drei Harfenspieler: 15. Cophtisches Lied 2 (Geh! Gehorche)
- Goethe-Lieder: 1-3 Drei Harfenspieler: 21. Genialisch Treiben
- Goethe-Lieder: 1-3 Drei Harfenspieler: 11. Der Rattenfenger
- Goethe-Lieder: 1-3 Drei Harfenspieler: 19. Epiphanias
- Goethe-Lieder: 1-3 Drei Harfenspieler: 26. Die Sproede
- Goethe-Lieder: 1-3 Drei Harfenspieler: 27. Die Bekehrte
- Goethe-Lieder: 1-3 Drei Harfenspieler: 24. Blumengruss
- Goethe-Lieder: 1-3 Drei Harfenspieler: 25. Gleich und gleich
- Goethe-Lieder: 1-3 Drei Harfenspieler: 28. Fruehling uebers Jahr
Tracks:
- Goethe-Lieder: 49. Prometheus
- Goethe-Lieder: 50. Ganymed
- Goethe-Lieder: 18. Beherzigung
- 1-3 Drei Gedichte von Michelangelo: 1: Wohl denk' ich oft
- 1-3 Drei Gedichte von Michelangelo: 2: Alles endet, was entstehet
- 1-3 Drei Gedichte von Michelangelo: 3: Fuehlt meine Seele
- Moerike-Lieder: 19. Um Mitternacht
- Moerike-Lieder: 42. Erstes Liebeslied eines Maedchens
- Moerike-Lieder: 45. Nixe Binsefuss
- Spanisches Liederbuch: Moegen alle boesen Zungen
- Spanisches Liederbuch: 24. Koepfchen, Koepfchen, nicht gewimmert
- Spanisches Liederbuch: 11. Klinge, klinge, mein Pandero
- Spanisches Liederbuch: 26. Bitt ihn, o Mutter
- Italiensches Liederbuch: 6. Wer rief dich denn?
- Italiensches Liederbuch: 25. Mein Liebster hat zu Tische mich geladen
- Italiensches Liederbuch: 43. Schweig einmal still
- Italiensches Liederbuch: 35. Benedeit die sel'ge Mutter
- Italiensches Liederbuch: 7. Der Mond hat eine schwere Klag' erhoben
- Italiensches Liederbuch: 27. Schon streckt' ich aus im Bett die mueden Glieder
- Goethe-Lieder: 51. Grenzen der Menschheit
- Italiensches Liederbuch: 32. Was soll der Zorn, mein Schatz
- Italiensches Liederbuch: 24. Ich esse nun mein Brot nicht trocken mehr
- Italiensches Liederbuch: 31. Wie soll ich froehlich sein
- Italiensches Liederbuch: 11. Wie lange schon war immer mein Verlangen
- Italiensches Liederbuch: 28. Du sagst mir, dass ich keine Fuerstin sei
- Italiensches Liederbuch: 26. Ich liess mir sagen
- Italiensches Liederbuch: 29. Wohl kenn' ich Euren Stand
- Italiensches Liederbuch: 21. Man sagt mir, deine Mutter woll' es nicht
- Italiensches Liederbuch: 36. Wenn du, mein Liebster, steigst zum Himmel auf
Tracks:
- Italiensches Liederbuch: 20. Mein Liebster singt am Haus im Mondenscheine
- Italiensches Liederbuch: 40. O waer' dein Haus durchsichtig wie ein Glas
- Italiensches Liederbuch: 39. Gesegnet sei das Gruen
- Italiensches Liederbuch: 2. Mir ward gesagt, du reisest in die Ferne
- Italiensches Liederbuch: 15. Mein Liebster ist so klein
- Italiensches Liederbuch: 46. Ich hab' in Penna einen Liebster wohnen
- Italiensches Liederbuch: 4. Gesegnet sei, durch den die Welt entstund
- Italiensches Liederbuch: 3. Ihr seid die Allerschoenste
- Italiensches Liederbuch: 13. Hoffaertig seid Ihr, schoenes Kind
- Italiensches Liederbuch: 9. Dass doch gemalt all deine Reize waeren
- Italiensches Liederbuch: 17. Und willst du deinen Liebsten sterben sehen
- Italiensches Liederbuch: 38. Wenn du mich mit den Augen streifst
- Italiensches Liederbuch: 41. Heut Nacht erhob ich mich, um Mitternacht
- Italiensches Liederbuch: 22. Ein Staendchen Euch zu bringen
- Italiensches Liederbuch: 8. Nun lass uns Frieden schliessen
- Italiensches Liederbuch: 19. Wir haben beide lange Zeit geschwiegen
- Italiensches Liederbuch: 14. Geselle, woll'n wir uns in Kutten huellen
- Italiensches Liederbuch: 18. Heb auf dein blondes Haupt
- Italiensches Liederbuch: 33. Sterb' ich, so huellt in Blumen meine Glieder
- Italiensches Liederbuch: 37. Wie viele Zeit verlor ich
- Italiensches Liederbuch: 23. Was fuer ein Lied soll dir gesungen werden
- Spanisches Liederbuch: 7. Muehvoll komm' ich und beladen
- Spanisches Liederbuch: 15. Auf dem gruenen Balkon
- Spanisches Liederbuch: 14. Treibe nur mit Lieben Spott
- Spanisches Liederbuch: 29. Trau nicht der Liebe
- Spanisches Liederbuch: 38. Sie blasen zum Abmarsch
- Sechs Gedichte: 3. Biterolf (Im Lager von Akkon 1190)
- Moerike-Lieder: 22. Seufzer
- Moerike-Lieder: 28. Gebet
- Moerike-Lieder: 23. Auf ein altes Bild
- Moerike-Lieder: 32. An die Geliebte
- Moerike-Lieder: 12. Verborgenheit
- Moerike-Lieder: 39. Denk es, o Seele!
- Moerike-Lieder: 51. Bei einer Trauung
- 3. Ein Stuendlein wohl vor Tag
- Moerike-Lieder: 16. Elfenlied
Tracks:
- Sechs Alte Weisen: 6. Wie glaenzt der helle Mond
- Goethe-Lieder: 14. Cophtisches Lied 1
- Eichendorff-Lieder: 2. Der Musikant
- Eichendorff-Lieder: 5. Der Soldat
- Eichendorff-Lieder: 9. Der Schreckenberger
- Moerike-Lieder: 44. Der Feuerreiter
- Drei Gedichte von Robert Reinick: 1. Gesellenlied (Kein Meister faellt)
- Goethe-Lieder: 5. Mignon 1 (Heiss mich nicht reden)
- Goethe-Lieder: 7. Mignon 3 (So lasst mich scheinen)
- Moerike-Lieder: 29. An den Schlaf
- Moerike-Lieder: 36. Liebe wohl
- Spanisches Liederbuch: 30. Ach, im Maien war's
- Spanisches Liederbuch: 21. Herz, verzage nicht geschwind
- Moerike-Lieder: 30. Neue Liebe
- Moerike-Lieder: 48. Storchenbotschaft
- Spanisches Liederbuch: 32. Dereinst, dereinst, Gedanke mein
- Spanisches Liederbuch: 31. Alle gingen, Herz, zur Ruh
- Spanisches Liederbuch: 33. Tief im Herzen trag' ich Pein
- Sechs Gedichte: 6. Zur Ruh, zur Ruh
- Spanisches Liederbuch: 34. Komm, o Tod, von Nacht umgeben
- Sechs Lieder fuer eine Frauenstimme: 4. Wiegenlied (Im Sommer)
- Sechs Lieder fuer eine Frauenstimme: 5. Wiegenlied (Im Winter)
- Moerike-Lieder: 20. Auf eine Christblume I (Tochter des Walds)
- Moerike-Lieder: 24. In der Fruehe
- Moerike-Lieder: 25. Schlafendes Jesuskind
Tracks:
- Goethe-Lieder: 20. Sankt Nepomuks Vorabend
- Goethe-Lieder: 12. Ritter Kurts Brautfahrt
- Moerike-Lieder: 47. Die Geister am Mummelsee
- Moerike-Lieder: 10. Fussreise
- Moerike-Lieder: 43. Lied eines Verliebten
- Moerike-Lieder: 25. Schlafendes Jesuskind
- Moerike-Lieder: 4. Jaegerlied
- Moerike-Lieder: 17. Der Gaertner
- Moerike-Lieder: 50. Auftrag
- Moerike-Lieder: 9. Nimmersatte Liebe
- Spanisches Liederbuch: 44. Geh, Geliebter, geh jetzt!
- Goethe-Lieder: 10. Der Saenger
- Eichendorff-Lieder: 13. Der Scholar
- Eichendorff-Lieder: 14. Der verzweifelte Liebhaber
- Eichendorff-Lieder: 15. Unfall
- Vier Gedichte: 1. Wo wird einst (Heine)
- Vier Gedichte: 3. Sonne der Schlummerlosen
- Vier Gedichte: 4. Keine gleicht von allen Schoenen
- Eichendorff-Lieder: 1. Der Freund
- Eichendorff-Lieder: 2. Der Musikant
- Sechs Gedichte: 1. Waechterlied auf der Wartburg
- Moerike-Lieder: 40. Der Jaeger
- Goethe-Lieder: 32. Phaenomen
- Eichendorff-Lieder: 3. Verschwiegene Liebe
- Vier Gedichte: 1. Wo wird einst (Heine)
- Ueber Nacht (Sturm)
Amazon.com
EMI's "society" subscription editions in the 1930s yielded a wealth of recordings long considered gramophone classics, such as the present collection of roughly half of Hugo Wolf's lieder output. Each song occupies its own specific world, due to Wolf's resourceful word setting and his avoidance of anything generic. In turn, the performers illuminate each song's felicities with effortless authority, and they avoid overpointing or enacting. Full texts and translations are included. Ernest Newman's penetrating annotations for the original 78 albums, reprinted in EMI's 1981 LP reissue, are absent. --Jed DistlerCustomer Reviews:
The Hugo Wolf Society Recordings.......2005-12-28
In the early 1930s, a young Walter Legge began a project of recording Wolf songs on a subscribtion basis to be limited to 500 sets. The recording industry was relatively new, and Wolf, then as now, too little appreciated. The result was an extensive series of recordings of issued between 1931 and 1938 consisting of 145 songs, about one-half Wolf's output, performed by fourteen singers. The Hugo Wolf Society recordings remain a high moment in the recording of song. They were remastered on LPs and, in 1998, in this 5 CD collection which includes previously unreleased selections.
The Wolf Society collection offers an unparalleled opportunity to get to know Wolf's songs performed by artists of the past that might otherwise be unfamiliar to many listeners. The performers include mezzo-soprano Elena Gerhardt, who recorded the initial volume for the society, baritones Herbert Janssen, Gerhard Husch, tenors John McCormack, Karl Erb, and Helge Roswaenge, the basses Alexander Kipnis, Frederich Schorr, and Ludwig Weber, and sopranos Alexandra Trianti, Elizabeth Rethberg, Ria Ginster, Marta Fuchs, and Tiana Lemnitz. The pianists include Conrad Bos, Gerald Moore, Michael Raucheisen, Hans Udo Muller, and Ernest Victor Wolff.
The singers perform in a variety of styles from the highly operatic to the quietly lyrical. There is a Wagnerian performance of Goethe's "Prometheus" by Friedrich Schorr with the London Symphony Orchestra -- the only track using an orchestral accompaniment. The Irish tenor John McCormack shows a more lyrical approach in his renowned performance of Goethe's poem "Ganymed". The sopranos, Alexandra Trianti, Ria Ginster, and Tiana Lemitz have light, clear, bell-like voices. I find the singers on this compilation take a much more individualized, idiosyncratic, and romantic approach to song than do their modern counterparts, who sometimes seem restrained and chaste by comparison.
Each of Wolf's great collections of songs is well-represented. Elena Gerhardt performs songs from each of Wolf's five books, with the exception of the Goethe songs. The young Alexander Kipnis gives a powerful reading of Wolf's three songs from Michaelangelo. The third CD in this collection features many songs from the Italian songbook performed by soprano Ginster, baritone Husch, and bass Kipnis together with recordings from the Spanish songbook by sopranos Rethberg and Ginster and baritone Husch. There are lovely performances by soprano Tiana Lemnitz in the previously uncollected supplementary material, which also includes several Eichendorff songs and a performance of the Goethe-song "Phanomen" by Alexander Kipnis.
There is a great amount of material in this collection, with each of the 5 CDs including in excess of 70 minutes of music. Most of Wolf's songs are highly concentrated and intense. They may prove difficult to the listener coming to them knowing only the lyricism of Schubert. I would not recommend trying to rush through this set at one or two hearings. It is best to take this music in small sections and to listen with text in hand. The compilation includes texts and translations for each of the songs together with good notes about the Wolf Society recording project. There is little discussion about Wolf or about the songs themselves.
This is an essential collection for those who love song, historical recordings, and the music of Hugo Wolf.
Robin Friedman
"Even little things can delight us.".......2003-06-02
Walter Legge, a very young EMI record producer in the 1930s, first made such a journey possible when he pioneered the Hugo Wolf Society and began releasing the volumes now reissued in this boxed set. Many singers were invited to participate. Legge's choice of singers was sometimes idiosyncratic. You might wonder how an Irish tenor, a Ukrainian bass and a Greek soprano were admitted to the roster. The results, however, especially in the case of the contributions of John McCormack and Alexander Kipnis, prove the sureness of his instincts.
About half Wolf's songs were made available in the original issue, between 1931 and 1938. With this reissue comes unused and hitherto unissued recordings, many by Tiana Lemnitz and Herbert Jannsen. So there is now more to discover and exploration is made easier for us in 2003 than it was in the 1930s. The remastering has improved the sound, Legge's widow Dame Elisabeth Schwarzkopf is able to provide a perceptive introduction in an accompanying booklet, and the texts of the songs are now provided in German and English.
"Even little things can delight us.".......2003-06-02
Walter Legge, a very young EMI record producer in the 1930s, first made such a journey possible when he pioneered the Hugo Wolf Society and began releasing the volumes now reissued in this boxed set. Many singers were invited to participate. Legge's choice of singers was sometimes idiosyncratic. You might wonder how an Irish tenor, a Ukrainian bass and a Greek soprano were admitted to the roster. The results, however, especially in the case of the contributions of John McCormack and Alexander Kipnis, prove the sureness of his instincts.
About half Wolf's songs were made available in the original issue, between 1931 and 1938. With this reissue comes unused and hitherto unissued recordings, many by Tiana Lemnitz and Herbert Jannsen. So there is now more to discover and exploration is made easier for us in 2003 than it was in the 1930s. The remastering has improved the sound, Legge's widow Dame Elisabeth Schwarzkopf is able to provide a perceptive introduction in an accompanying booklet, and the texts of the songs are now provided in German and English.
Wolf sung by various Lieder singers.......2000-08-15
These precious recordings offer us so much. They are a document of a golden age of Lieder singing, and they are superb recitals, sung by a variety of voices, never allowing the listener to tire of listening to a single voice for too long. They are also, of course, examples of some of the most wonderful Lieder writing of any time. These 5 cds are a must for a Lieder specialist, and can open new doors to the novice. Buy them, and never regret having this treasure trove which will give you pleasure all your life.
Average customer rating:
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ASIN: B00002MXN4 Release Date: 1999-11-09 |
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Customer Reviews:
Fantastic.......2006-06-30
Famous Overtures.......2005-08-16
Did not like the tempo and in one piece one of the instruments played a portion which I would say they played a flat instead of a natural note. This is based on hearing the same pieces played by someone else, it's just my opinion.
Spectacular.......2003-09-25
Excellent.......2002-06-11
The best Overture Album !.......2000-02-28
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