Jorma

Product Description
First time on CD for 1979 release for the former Jefferson Airplane guitarist who went on to form Hot Tuna. A unique solo album where Jorma plays acoustic and backs himself on electric guitars. Standard jewel case. 2001 release.

Jorma,Jorma Kaukonen,Acadia Records,Folk-Rock,Pop,Rock,Rock & Roll,Rock/Pop

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Jorma

Average customer rating: Good Jorma Album! Great pickin, but overbearing religiosity if you're not a Christian it won't be for you A Class Act Pure listening joy

Stars in My Crown Jorma Kaukonen Manufacturer: Red House ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Try Me One More Time My Name Is Buddy Live at Massey Hall (CD/DVD) Quartet West ASIN: B000MM1F3M Release Date: 2007-03-13

Tracks:

1. Heart Temporary
2. Fur Peace Rag
3. By The Rivers Of Babylon
4. Living In The Moment
5. Late Breaking News
6. Come Back Baby
7. Mighty Hard Pleasure
8. No Demon
9. There's A Table Sitting In Heaven
10. When The Man Comes Around
11. A Life Well Lived
12. Will There Be Any Stars In My Crown?
13. Preacher Picked The Guitar
14. Will There By Any Stars In My Crown? (Instrumental)

Amazon.com

Five years after Blue Country Heart, Stars in My Crown finds Jorma Kaukonen continuing and expanding on that Grammy-nominated work. It's again a relaxed setting, but the stylistic range has taken on a compelling diversity. Not generally a prolific writer, Kaukonen has written a welcome five of the disc's fourteen numbers this time out. They range from the perfect and prayerful opener "Overture: Heart Temporary," with its 12-piece string section holding his acoustic guitar and vocal aloft, to the lilting instrumental "A Life Well Lived." Kaukonen's choice of covers has left him room to make them his own, while also adding to the portrait of who he is as an artist, and how he got there. It would be right to expect a Rev. Gary Davis song on this album, and there are two of them, but it's his take on Johnny Cash's "The Man Comes Around" that amazes. It's an audacious choice for reinterpretation in which he both honors the original and finds a natural ease for his own voice. Throughout the entire set, the small and subtly varying ensemble plays with elegant style, peppered with occasional playful hijinks. --David Greenberger

Album Description

The Rock & Roll Hall of Fame-enshrined guitarist and founder of Jefferson Airplane and Hot Tuna returns with a stunning acoustic masterpiece, his first new recording since 2002's Grammy-nominated Blue Country Heart.

Continuing the journey through American roots music he started in the early 1960's, Jorma cooks up a tasty collection of down-home blues, bluegrass, folk, country gospel and reggae. Stars In My Crown was recorded in Nashville and is rooted in classic Americana, flavored with a laid-back bluesy feel.

With fresh takes on soul-searching spirituals and many original compositions, the new record is vastly more personal than previous recordings, as evidenced by the self-penned "Heart Temporary," "A Life Well Lived," and "Living In The Moment." The album reveals Kaukonen's increasingly reflective outlook as the success of his Fur Peace Guitar Ranch and his full and varied life of music and family leads him to ask on the liner notes "Who would have thought that life would be this good?"

Jorma's love for Lightnin' Hopkins manifests in "Come Back Baby," and his continued channeling of Reverend Gary Davis is heard in "There's A Table Sitting In Heaven." A satisfying jewel is Jorma's cover of the classic reggae song "The Rivers Of Babylon." After Jerry Garcia gave him his first reggae album - the soundtrack to the movie The Harder They Come - Kaukonen always wanted to record the tune. "This is crucial reggae for sure," says Jorma.

Backing Kaukonen are the outstanding talents of Barry Mitterhoff (Hot Tuna), Rob Ickes (Blue Highway), Reese Wynans (Stevie Ray Vaughan's Double Trouble), Tim Stafford (Blue Highway, Alison Krauss), Greg Leisz (Dave Alvin) and Sally Van Meter (Tony Furtado Band). Produced by Byron House (Sam Bush Band), Stars in My Crown is the album that fans and critics have been anxiously awaiting.

Customer Reviews:

Good Jorma Album!.......2007-06-22

As always, Jorma pulls out some great guitar work for his fans, and this one is no exception. I'm a fan, and a friend, and I'll probably be a bit biased, but I also feel free to tell it like it is. My favorite is Blue Country Heart and Land of Heroes, and now I have a third favorite "recent" Jorma solo album with Stars in My Crown. For anyone who thinks this is a religious conversion release, they just don't understand what they are talking about. Jorma has always played "gospel" songs in his releases because of his undying devotion to the music of the Rev Gary Davis. Its part of his roots as a musician. His religious epiphany of late was in his Jewish roots, not Christianity, lest anyone think this is Jorma's version of Bob Dylan's Saved album. Great job Jorma, and I hope you record more for us to listen to and aspire to play on our own guitars, even if we try it with flat picks. This is a must-have for any serious Jorma fan and student of fingerstyle guitar, country blues and American roots music.

Great pickin, but overbearing religiosity.......2007-06-15

Great fingerpicking, as is to be expected from Jorma. Unfortunately, he's found God in a big way and feels compelled to beat the listener over the head with the "good news." Ugh....

if you're not a Christian it won't be for you.......2007-06-03

it was disheartening to hear messages of exclusion and righteousness--great gospel music brings all people in as it embraces the human condition and our yearning to become better people. In this CD unfortunately one must believe that Jesus is the only way to have a spiritual life.

A Class Act.......2007-06-03

In a world of much musical GARBAGE, Stars In My Crown is a well written, well composed,CLASS ACT. Jormas' talents have gotten better with age, and although some may resent the Christian theme in a few of the cuts, the well thought out lyrics have to be acknowledged. The first song, "Heart Temporary" will bring a tear to the most seasoned sailor. As an old hippie, I'm glad Jorma brought the love of the sixties back to my heart.

Pure listening joy.......2007-05-09

Jorma's guitar stirs so many memories of yesteryear. His music is uplifting and hopeful. He plays the guitar with such love and passion as to soothe and bring cheer at the same time. A must own for all music lovers.

Average customer rating: Where's the Jacket? AND BREATHING FELT LIKE SOMETHING NEW A record you should own not just an acid rocker Acoustic Masterpiece!

Quah Jorma Kaukonen Manufacturer: RCA ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Rock Jam Bands | Jam Bands | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Blue Country Heart Hot Tuna Stars in My Crown Burgers America's Choice ASIN: B00007L4P2 Release Date: 2003-01-07

Tracks:

1. Genesis
2. I'll Be All Right
3. Song for the North Star
4. I'll Let You Know Before I Leave
5. Flying Clouds
6. Another Man Done Gone
7. I Am the Light of This World
8. Police Dog Blues
9. Blue Prelude
10. Sweet Hawaiian Sunshine
11. Hamar Promenade
12. Lord Have Mercy (previously unreleased bonus track)
13. No Mail Today (previously unreleased bonus track)
14. Midnight in Milpitas (previously unreleased bonus track)
15. Barrier (previously unreleased bonus track)

Amazon.com

Jorma Kaukonen's first solo album remains one of the crowning achievements in his distinguished musical career. First released in 1974, Quah drew on the same folk and blues influences that powered his Hot Tuna project, but did so with a gentler, more delicate touch. Produced by his Hot Tuna partner Jack Casady, the album mostly features just Jorma and his deft fingerpicking, although three songs feature tasteful string-section overdubs. The opening "Genesis," a poignant ode to his failing marriage (recorded on Valentine's Day), is perhaps his most touching original composition, while another original, "Flying Clouds," is a graceful melody as far from acid rock as one can imagine. There are also two uplifting covers of his biggest influence, Rev. Gary Davis. Originally, Quah was supposed to be a full collaboration with Tom Hobson, whom Jorma describes as a "quirky roots performer." Hobson was apparently too quirky for the suits at RCA, since only two of his contributions survived the original cut; though always considered a bit odd by Jorma fans, Hobson's songs have over time acquired a certain charm. The 2003 reissue adds four unreleased bonus cuts: two Hobson vocals, an instrumental duet, and a solo instrumental by Kaukonen. Those who associate Jorma Kaukonen with more jam-oriented projects may be surprised by just how lovely and enchanting Quah is. --Marc Greilsamer

Customer Reviews:

Where's the Jacket?.......2007-06-09

One of my first girlfriends embroidered her jacket with the cover art from this classic. I met her in a van going to the old Palladium in NYC to see Hot Tuna - she was dating my bud Charlie at the time. This music is timeless and beautiful. If any one who was in that van reads this you can find me on the web - drop a line.

AND BREATHING FELT LIKE SOMETHING NEW.......2006-02-12

A kindred spirit sent me the Quah cassette a few years ago. I recall playing it for the first time alone in my car, and feeling swept away in what I can only describe as a hynotic swirl of transcendence.
A mystical, gentle, sensual, erotic and loving piece of musical brilliance.

A record you should own.......2005-11-11

Because you certainly will find some good moments, a lot I want to think, to listen to it. Alone or together with your best friend, or girlfriend. Music helps us to give colour to particular days and then those experiences use to remain in our minds linked with the music we actually listened in the period. I have to say that I know, I can assure you that you will want to link some moments, some experiences of your life to the music contained in Quah. This album is special it has a melodic quality that is very tender, very warm, very human. Is is so warm to listen to Jorma and his guitar, playing their hearts out in this record from the seventies. This music is great. It is so american in a sense. I really love it and Jorma play great arrangements on the acoustic guitar. It is one of the acoustic guitar albums I love the most, together with music by Michael Hedges, Leo Kottke, James Taylor, Jim Croce, Ralph Towner, Pat Metheny few more. I perfectly know how different could sound James Taylor and Michael Hedges,Jim Crose and Ralph Towner but the acoustic guitar put them in close relation to me and I enjoy them all. I did buy this album in the eighties when I was a growing musician, a young guitarist hungry for flashy things and so at that time it didn't impressed me that much. I listen to it just once then I forgot about the thing. Now I have bought the remastered cd edition and I find a marvellous album because now that I passed some bad things, I know the beauty of tenderness. Maturity is a nice thing sometimes. Best to you all. Buy this record.

not just an acid rocker.......2005-08-23

Jorma in this setting is an eye opening look into what a great gutiar player he really is. He's a finger picking mad-man, and his vocal style is the perfect match for his playing. I had this recording long ago and lost it to time, but when I replaced it, it was as fresh as ever. A timeless recording that filled a gap in my collection.

Acoustic Masterpiece!.......2004-11-30

I'll never forget the fall of 1976. I was working the graveyard shift at a grocery store and my coworkers and I would hook up the radio to the intercom system so music (although acoustically awful) helped us through the night. The disc jockey who also worked all night would tend to play real mellow stuff from 1:00AM to 6:00 AM. I always thought he had great taste, but my co-workers preferred Ted Nugent and that kind of stuff. Every morning, just before his shift ended, he would play this soft gentle song that spoke softly of lost love and a feeling of sadness. It was very gentle, very beautiful and I looked forward to it every morning. I always meant to call him to find out what the song was, and of course I kept putting it off, telling myself I would call him the next day. Well, one night he wasn't on anymore! He left the station. I called and asked every jock on that station if they could tell me what that song was. Of course, none of them knew it. I loved that song and it remained a mystery to me for nine years. In 1985 a buddy of mine that I would trade albums with brought me over a few records and one of them was "Quah" by Jorma. He told me it was a great album with a great song, "Genesis" on it. I told him I would give it a try when I had a chance. About three weeks later, I put the album on one day and when it started , I turned and stared at the stereo! This was the mystery song I had been seeking for the past nine years! I taped the LP and wore that tape out, then got the CD when that was released. It was so great to hear it without the cracks and pops that were on my friend's LP.

Quah is a magical album. I still play it quite often when I need that mellow feeling. And "Genesis" remains one of the most magical pieces of music ever written. It haunts me to this day.

Average customer rating: hall of fame stuff Jorma's best and most unaffected work Flying A Different Kind of Airplane Finger-pickin' Good! Something special, no pretensions

Blue Country Heart Jorma Kaukonen Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Country | Styles | Music General | Rock | Styles | Music Rock Jam Bands | Jam Bands | Rock | Styles | Music Pop Rock | Pop | Styles | Music 4-for-3 Country | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 Rock | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Quah Stars in My Crown Hot Tuna Burgers Live at Sweetwater 2 ASIN: B0000658AR Release Date: 2002-06-11

Tracks:

1. Blue Railroad Train
2. Just Because
3. Blues Stay Away From Me
4. Red River Blues
5. Bread Line Blues
6. Waiting For A Train
7. Those Gambler's Blues
8. Tom Cat Blues
9. Big River Blues
10. Prohibition Blues
11. I'm Free From The Chain Gang Now
12. You And My Old Guitar
13. What Are They Doing In Heaven Today?

Amazon.com

Singer and guitarist extraordinaire Jorma Kaukonen was a devoted aficionado of early-20th-century rural music long before he cofounded Jefferson Airplane in 1965 and Hot Tuna some years later. On his new solo album, Kaukonen has found an imaginative setting to remind listeners how a fusion of styles and influences from both black and white musicians defined American country music in its formative decades. Included here are gems, both familiar and obscure, by the likes of Jimmie Rodgers, the Delmore Brothers, Jimmie Davis, Cliff Carlisle, and other country musicians who were clearly inspired by their blues cousins. Backed by the Nashville All-Stars, a supersonic string band comprising bluegrass masters Sam Bush (mandolin), Jerry Douglas (Dobro), Béla Fleck (banjo), and Byron House (stand-up bass), all playing on vintage 1920s and '30s acoustic instruments, Kaukonen revives and vividly reinterprets these blues-drenched country classics for a new generation of listeners. --Bob Allen

Customer Reviews:

hall of fame stuff.......2007-04-29

i found this jewel by accident thanks universe he's been with hot tuna i found out from a friend he was originally with jefferson airplane what more do we need? he has some real silky riffs great stuff buy 12

Jorma's best and most unaffected work.......2006-08-16

Jorma Kaukonen has said in interviews that this was the kind of music that got him started on guitar--that in fact, his father made a deal with him that if he learned to play 2 songs, the elder Kaukonen would buy his son a guitar. Both the songs Jorma learned were old-timey country songs (I recall one of them as being "Jimmy Brown the Newsboy"), so it would appear he has come full-circle.

And how beautifully so--this album so moved me that, by the time I got to "Free From the Chain Gang Now," I had tears in my eyes. Nothing flashy, nothing showy--just Jorma and a few of his best professional friends (including Sam Bush and Bela Fleck) having a Sunday-afternoon jam on the porch. It could be rural Tennessee, a house in the Catskills of upstate New York (where I'm now writing this from), the Fur Peace Ranch in Ohio, even a suburban bungalow in Topanga Canyon, California; whatever the setting, you fully expect to look out on your porch and see Jorma and the boys out there, jamming away and inviting you to come listen and maybe even sing a few songs with them...real easy-like, friendly smiles all round.

I, for one, would happily accept that invitation. So will you.

Flying A Different Kind of Airplane.......2004-10-16

Though the title of this CD gives a hint of what is to come, I had no idea what to expect when I bought it. When I first popped it into my CD player the music sounded so okie that I laughed aloud. This is Jorma Kaukonen? And unless you have followed all of the ins and outs of his career, you might have the same reaction.
I won't go into his musical past because if you are reading this, you are likely already familiar with him and his music. What you may not know of is his obvious fondness for bluegrass style music. If you are expecting guitar heroics, you won't find them here. If you are expecting a hard-driving rock recording, you won't find it here. But if you have any fondness in your heart for traditional American musical styles, this is a record for you! With Blue Country Heart, Jorma Kaukonen brings the listener forty-five minutes of fine toe-tappin', corn huskin', hoedown music.
My favorites here are Blue Railroad Train, Just Because (which features some magnificent banjo picking by Bela Fleck), Red River Blues, Bread Line Blues, Tom Cat Blues, Big River Blues, and Prohibition Blues. The listener will find that Kaukonen's voice is perfectly suited to this type of music and his musicians are first-rate.
I read a number of the reviews of this CD. A couple musical chauvinists complained of lack of authenticity. Do they really think that only people of a certain race can bring authenticity to the blues, that only hillbillies have bluegrass in their hearts? If they love the music of the original artist that much, they should be proud that Kaukonen is bringing that music to a new generation. If no one covered old songs, then memories of the great old songwriters would die with them and their contemporaries. I care less about authenticity than I do skill of interpretation, and on Blue Country Heart Kaukonen and company show great skill and feeling.
Yeah, I could listen to Jimmie Rodgers, with whom I am familiar, if I just had to be strictly authentic in my musical tastes. But until I heard this record, I never heard of the Delmore Brothers or some of the other writers. Now that I have, I am more likely to seek out the originals.
I think the record company missed an opportunity here to introduce Jorma Kaukonen to a new audience. With the current popularity of musicians like Allison Krause, and the attention to bluegrass generated by the popularity of the film "Wherefore Art Thou Brother?" this CD could have become a major seller. Kaukonen himself could promote the album by touring with Krause.
Jefferson Airplane/Starship/Hot Tuna fans might be surprised to find Jorma Kaukonen flying a different kind of airplane, but country music fans might find themselves wondering why they had never heard of someone as good as Kaukonen is before. They certainly would be surprised to know where he came from after hearing this.
I hope he does another like this soon. Four stars only because forty-five minutes is just not long enough.

Finger-pickin' Good!.......2004-10-01

After hearing Hot Tuna live recently I had to check this CD out. Like Jerry Garcia, Jorma began to study and play American roots music long ago. Those who enjoy late 60's Grateful Dead (Cumberland Blues) or Jerry's work with mandolin-bluegrass master David Grisman may find similar pleasures await them here.

Some will complain about Jack Cassidy's absence, but Jorma compensates by assembling the likes of Sam Bush, Jerry Douglas, and Bela Fleck, modern bluegrass elites and Grisman associates. Whether this music may be blues or bluegrass, Jorma's partners have chops and authority second to none, and they break out with blazing spontaneity between verses.

Jorma's warm grainy voice is in fine form and his distinctive tone seems just right for his amusing survey of depression-era songs about railroads, rivers, critters, and the tough life in general. If you like music that sounds like a bunch of hillbilly hippies pickin' n grinnin' on the back porch, this CD is worth your money.

Something special, no pretensions.......2004-08-05

Anyone familiar with Jorma Kaukonen will know that he has been playing this type of music off and on -- mostly on -- for many many years. Here he not only gets to display his own virtuosity, but he can do so in a way that is true to the music, something that wasn't always the case when he played in rock-oriented bands. Blessedly teamed with stellar bluegrass musicians, the band comes off as sharp and confident in this first-class recording. The sound comes through clear and pure, but not "produced", all the while maintaining an aura of witnessing a bunch of friends sitting on the porch, jamming on a Sunday afternoon. This recording is the closest thing I've heard to date that captures the essence of old-time musicians and musicianship back before music became an industry and a commodity.

PS: I see a previous post that disparages this recording based on the color of the artist's skin. I'm not sure of his motive, but the inference is that this record should be dismissed based on a belief that only one race 'owns' or can 'legitimatly' play the blues. The blues may have started in the Mississippi Delta, but it borrowed freely and cross-fertilized from all popular music at the time. Whether the idea for the blues originated from specific conditions by a specific group is irrelevent -- the blues represents the blending of creative forces throughout the country. Just as the blues have evolved past its roots as field chants, it has become first an American institution, and now an international one. Any musician can tell you that where ever he goes on this planet, if the people have heard about America, they want to hear him play the blues.

Average customer rating:

Rautavaara: Cantus Arcticus for birds Op61; String quartet No2 Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Rautavaara, Einojuhani | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Clarinet | Reeds & Winds | Instruments | Classical | Styles | Music Double Bass | Strings | Instruments | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music ASIN: B000027HW9 Release Date: 2001-07-03

Tracks:

1. Cantus Arcticus Op.61: I. The Bog - Klemetti Institute SO/Pertti Pekkanen
2. Cantus Arcticus Op.61: II. Melancholy - Klemetti Institute SO/Pertti Pekkanen
3. Cantus Arcticus Op.61: III. Swans Migrating - Klemetti Institute SO/Pertti Pekkanen
4. Angel Of Dusk: I. His First Appearance - Olli Kosonen
5. Angel Of Dusk: II. His Monologue - Olli Kosonen
6. Angel Of Dusk: III. His Last Appearance - Olli Kosonen
7. St Qt: I. Moderato - Jean Sibelius Qt
8. St Qt: II. Allegro - Jean Sibelius Qt
9. St Qt: III. Adagio - Jean Sibelius Qt
10. St Qt: IV. Animato - Jean Sibelius Qt

Tracks:

1. Cantos I-III: I. Canto I. - Tapiola Sinfonietta/Juhani Lamminmaki
2. Cantos I-III: II. Canto II. - Tapiola Sinfonietta/Juhani Lamminmaki
3. Cantos I-III: III. Canto III. - Tapiola Sinfonietta/Juhani Lamminmaki
4. Epitaph - The Helsinki Strs/Csaba & Geza Szilvay
5. Hommage A Zoltan Kodaly - The Helsinki Strs/Csaba & Geza Szilvay
6. Hommage A Ferenc Liszt - The Helsinki Strs/Csaba & Geza Szilvay
7. A Requiem in Our Time: I. Hymnus - Helsinki PO/Jorma Panula
8. A Requiem in Our Time: II. Credo Et Dubito - Helsinki PO/Jorma Panula
9. A Requiem in Our Time: III. Dies Irae - Helsinki PO/Jorma Panula
10. A Requiem in Our Time: IV. Lacrymosa - Helsinki PO/Jorma Panula
11. Sonetto - Kullervo Kojo/Juhani Lagerspetz

Average customer rating:

100 Best Mozart Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD Dances | Ballets & Dances | Classical | Styles | Music Minuets | Ballets & Dances | Classical | Styles | Music Duets | Chamber Music | Classical | Styles | Music Quartets | Chamber Music | Classical | Styles | Music Quintets | Chamber Music | Classical | Styles | Music Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Leopold Mozart | Mozart, Leopold | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Fantasies | Forms & Genres | Classical | Styles | Music Divertimentos | Serenades & Divertimentos | Forms & Genres | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music Classical | Symphonies | Forms & Genres | Classical | Styles | Music Sinfonia Concertante | Symphonies | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Vocal & Song | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music | Cantatas | Romances Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music French Horn | Brass | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Clarinet | Reeds & Winds | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Best Classics 100 Volume 2 100 Best Film Classics 100 Best Baroque Best Classics 100 Volume 1 100 Best Opera Classics ASIN: B000GPIPRE Release Date: 2006-08-29

Tracks:

1. I. Molto Allegro - Berliner Philharmoniker
2. II. Adagio - Jack Brymer
3. I. Allegro (Opening) - Sir Neville Marriner
4. II. Andante - Christian Zacharias
5. IV. Finale: Presto - English Chamber Orchestra
6. II. Adagio - Frank Peter Zimmermann
7. III. Menuetto-Trio - Stockholm Chamber Orchestra
8. IV. Allegro - Berliner Philharmoniker
9. II. Adagio - English Chamber Orchestra
10. III. Rondo: Allegro Vivace - Barry Tuckwell
11. II. Andantino - James Galway
12. III. Presto - Anne-Sophie Mutter

Tracks:

1. Overture - Wiener Philharmoniker
2. Non Piu Andrai - Thomas Allen
3. Porgi Amor - Margaret Price
4. Voi Che Sapete - Ann Murray
5. Hai Gia Vinta La Causa!... Vedro Mentr'io Sospiro - Jorma Hynninen
6. Dove Sono - Margaret Price
7. Canzonetta Sull'Aria... Che Soave Zefiretto - Kathleen Battle
8. Deh Vieni, Non Tardar - Kathleen Battle
9. Bella Vita Militar - Konzertvereinigung Wiener Staatsopernchor
10. Soave Sia Il Vento - Margaret Marshall
11. Smanie Implacabili - Agnes Baltsa
12. L'Intatta Fede... Come Scoglio - Margaret Marshall
13. Un'Aura Amorosa - Francisco Araiza
14. Madamina, Il Catalogo E Questo - Susanne Mentzer
15. La Ci Darem La Mano - Susanne Mentzer
16. Or Sai Chi L'Onore - Susanne Mentzer
17. Dalla Sua Pace - Susanne Mentzer
18. Finch'han Dal Vino - Susanne Mentzer
19. Deh, Vieni Alla Finestra - Susanne Mentzer
20. Vedrai, Carino - Susanne Mentzer
21. In Quali Eccessi, O Numi... Mi Tradi, Quell'alma Ingrata - Susanne Mentzer
22. Questo E Il Fin - Susanne Mentzer

Tracks:

1. Overture - Sir Neville Marriner
2. Fuor Del Mar Ho Un Mar In Seno - Ian Bostridge
3. Zeffiretti Lusinghieri - Lisa Milne
4. Konstanze, Dich Wieder Zu Sehen, Dich! - Lucia Popp
5. Martern Aller Arten - Lucia Popp
6. Welche Wonne, Welche Lust - Lucia Popp
7. Vivat Bacchus - Lucia Popp
8. O, Wie Will Ich Triumphieren - Lucia Popp
9. Overture - Chor Des Bayerischen Rundfunks
10. Der Vogelfanger Bin Ich Ja - Edita Gruberova
11. Dies Bildnis Ist Bezaubernd Schon - Edita Gruberova
12. Bei Mannern - Edita Gruberova
13. Schnelle Fusse - Edita Gruberova
14. O Isis Und Osiris - Edita Gruberova
15. Der Holle Rache - Edita Gruberova
16. Ach, Ich Fuhl's - Edita Gruberova
17. Ein Madchen Oder Weibchen - Edita Gruberova
18. Pa-Pa-Pa-Pa-Papagena! - Edita Gruberova
19. O Du Eselhafter Martin K560 - Convivium Musicum Munchen
20. Bona Nox, Bist A Rechta Ox K561 - Convivium Musicum Munchen
21. Essen Und Trinken K234 - Convivium Musicum Munchen

Tracks:

1. III. Rondo Alla Turca: Allegretto - Andrei Gavrilov
2. III. Adagio - Blaserensemble Sabine Meyer
3. Das Butterbrot - Emile Naoumoff
4. I. Allegro - Frank Peter Zimmermann
5. 'Ah! Vous Dirais-Je Maman' - Aldo Ciccolini
6. I. Allegro - Sir Neville Marriner
7. II. Romanza: Andante - Sir Neville Marriner
8. III. Menuetto-Trio - Sir Neville Marriner
9. IV. Rondo: Allegro - Sir Neville Marriner
10. Die Schlittenfahrt K605 No.3 - Sir Neville Marriner
11. Fantasia In D Minor K397 - Alexander Lonquich
12. VI. Finale: Allegro - Gary Hoffman
13. Masonic Funeral Music K477 - Sir Neville Marriner
14. I. Allegro - Jean-Bernard Pommier
15. II. Andante - Jean-Bernard Pommier
16. III. Allegro - Jean-Bernard Pommier

Tracks:

1. I. Allegro Con Spirito - Christian Zacharias
2. II. Larghetto - Sabine Meyer
3. III. Menuetto In Canone - Blaserensemble Sabine Meyer
4. I. Andante - Christopher van Kampen
5. III. Rondo: Allegretto - Melos Ensemble
6. II. Adagio - Augustin Dumay
7. III. Presto - Daniel Barenboim
8. IV. Allegro Assai - Alban Berg Quartett
9. III. Rondo: Allegro - Nash Ensemble
10. II. Adagio - Christian Zacharias
11. III. Rondeau: Tempo Di Minuetto - Christian Tetzlaff
12. Menuet In D Major K355 - Alexander Lonquich
13. V. Finale: Allegro - Consortium Classicum
14. I. Allegro - Members Of Sinnhoffer Kammerorchester Munchen
15. IV. Presto - Members Of Sinnhoffer Kammerorchester Munchen

Tracks:

1. Introit: Requiem Aeternam - Della Jones
2. Kyrie - Della Jones
3. Lacrimosa - Della Jones
4. Laudate Dominum - Barbara Hendricks
5. Ave Verum Corpus K618 - Swedish Radio Chorus
6. Agnus Dei - Academy Of St. Martin In The Fields Chorus
7. Et Incarnatus Est - Kiri Te Kanawa
8. Benedictus - Chor Des Bayerischen Rundfunks
9. Exsultate, Jubilate K165 - Lucia Popp
10. I. Regina Coeli - Patrizia Kwella
11. Sancta Maria, Mater Dei K273 - Kolner Kammerchor
12. Betracht Dies Herz K42 - Barbara Hendricks
13. An Die Freundschaft K125h - Daniel Barenboim
14. 'Die Strahlen Der Sonne Vertreiben Die Nacht - Kurt Moll

Average customer rating: Predecessor to The Complete Sibelius Edition (pending)

The Essential Sibelius Manufacturer: Bis ProductGroup: Music Binding: Audio CD Duets | Chamber Music | Classical | Styles | Music Quartets | Chamber Music | Classical | Styles | Music Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Theatrical, Incidental & Program Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music Modern & 20th Century | Symphonies | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Similar Items: Russian Violin Concertos [Hybrid SACD] Grieg: The Complete Music for Piano Rossini - Il Viaggio a Reims Taneyev: Symphonies Nos. 1 & 3 Mahler: Symphony No. 3 ASIN: B000K2UF1W Release Date: 2006-11-28

Customer Reviews:

Predecessor to The Complete Sibelius Edition (pending).......2006-12-15

BIS set itself the task of recording EVERY work by Sibelius, and this 15 CD set is the downpayment on that more ambitious project. That in no way renders this so-called Essential Sibelius set modest or compromised. This set is so good, it risks eclipsing the subsequent Complete Works project BIS is still working to finish. All the major works (symphonies, tone poems, songs, Kullervo, concerti) are represented here and are gorgeously recorded. All but the second half of the 15th CD are digitally recorded (the analog material is restricted to some piano works).

The recording engineers at BIS do stunning work, and this collation is no exception. Let's consider the symphonies as representative of the set itself. This is a marvelous traversal of all seven. I own the readings done by Sir Colin Davis (still highly respected), the four that Bernstein recorded with the Vienna Philharmonic, and Maurice Abravanel's recordings. In virtually all particulars, Osmo Vanska betters the competition. He's done something I would not have thought possible (given that I own over 2,000 classical CDs): one of these disks has earned entry into my "Ten Desert Island CDs" list. That would be CD 2, containing the Second and Third Symphonies of Sibelius. Astonishingly compelling music-making: authoritative, with deeply carved emotion, overwhelming power, and soul-searching tenderness. It was like rediscovering Sibelius anew. I don't think there can be any higher praise than this.

The multi-lingual booklet is informative on a biographical level, but weak on extended discussion of the individual works. The sleeve packaging is arguably bargain-basement level, as is the silkscreening on the disks, which sometimes requires the booklet to let you know what you're facing. But at the stupendous price these gorgeous recordings are offered at, to complain about the packaging is to quibble.

There is something authoritative about any Sibelius project BIS puts its hand to, and one gets that sense in this collection. National pride, corporate pride, and (as we learn from the booklet) a personal connection to Sibelius, is evident in this box set and the loving attention the interpreters and recording engineers lavished on these works. Rediscover Sibelius by starting here. This box set will become the new benchmark for Sibelius box sets, at least until BIS finishes the Complete Works project in the future.

Average customer rating: Mostly fine but somewhat uneven Classic Sound of Mahler from LPO IMHO best Mahler performe. Tennstedt's Mahler Cycle: A Best Buy Challenging, Sensitive, Sincerely Committed Performances.

Mahler - The Complete Symphonies / LPO, Tennstedt Lucia Popp , London Philharmonic Orchestra , Elizabeth Connell , Edith Mathis , David Hill , Jorma Hynninen , Trudeliese Schmidt, Richard Versalle, Edith Wiens Doris Soffel , Hans Sotin , Nadine Denize , and Ladies of London Philharmonic Chorus Southend Boys' Chor Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Classical | Box Sets | Stores | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Bruckner: The Complete Symphonies Beethoven - The Complete String Quartets / Alban Berg Quartet Mozart: Chamber Music Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead Liszt: Works for Piano and Orchestra ASIN: B00000C2KM Release Date: 1998-11-03

Tracks:

1. Symphony No. 1 In D Major: 1. Langsam. Schleppend - Im Anfang Sehr Gemachlich
2. Symphony No. 1 In D Major: II: Kraftig bewegt, doch nicht zu schnell
3. Symphony No. 1 In D Major: III: Feierlich und gemessen, ohne zu schleppen
4. Symphony No. 1 In D Major: IV: Sturmisch bewegt
5. Symphony No. 2 In C Minor 'Resurection': I: Adagio maestoso

Tracks:

1. Symphony No. 2 In C Minor 'Resurrection': II: Andante moderato
2. Symphony No. 2 In C Minor 'Resurrection': III: In ruhig fliessender Bewegung
3. Symphony No. 2 In C Minor 'Resurrection': IV: Urlicht (Sehr feierlich aber schlicht)
4. Symphony No. 2 In C Minor 'Resurrection': V: Im Tempo des Scherzos (Wild herausfahrend) - Langsam - Allegro energico - Langsam

Tracks:

1. Symphony No. 3 In D Minor: Erste Aabteilung: I: Kraftig. Entschieden
2. Symphony No. 3 In D Minor: Zweite Abteilung: II: Tempo di Menuetto. Sehr massig
3. Symphony No. 3 In D Minor: Zweite Abteilung: III: Comodo. Scherzando. Ohne Hast
4. Symphony No. 3 In D Minor: Zweite Abteilung: IV: Sehr Langsam. Misterioso. Durchaus ppp
5. Symphony No. 3 In D Minor: Zweite Abteilung: V: Lustig im Tempo und keck im Ausdruck

Tracks:

1. Symphony No. 3 In D Minor: Qweite Abteilung: VI: Langsam. Ruhevoll. Empfunden.
2. Symphony No. 4 In G Major: I: Bedachtig. Nicht eilen
3. Symphony No. 4 In G Major: II: In gemachlicher Bewegung. Ohne Hast
4. Symphony No. 4 In G Major: III: Ruhevoll
5. Symphony No. 4 In G Major: IV: Sehr behaglich

Tracks:

1. Symphony No. 5 In C Sharp Minor: I: Trauermarsch
2. Symphony No. 5 In C Sharp Minor: II: Sturmisch bewegt, mit grosster Vehemenz
3. Symphony No. 5 In C Sharp Minor: III: Scherzo: Schattenhaft
4. Symphony No. 5 In C Sharp Minor: IV: Adagietto: Sehr langsam
5. Symphony No. 5 In C Sharp Minor: V: Rondo-Finale: Allegro

Tracks:

1. Symphony No. 7 In E Minor: I: Langsam - Allegro
2. Symphony No. 7 In E Minor: II: Nachtmusik I: Allegro moderato
3. Symphony No. 7 In E Minor: III: Scherzo: Schattenhaft
4. Symphony No. 7 In E Minor: IV: Nachtmusik II: Andante amoroso

Tracks:

1. Symphony No. 7 In E Minor: V: Rondo - Finale: Tempo I (Allegro ordinario) - Tempo II (Allegro moderato ma energico)
2. Symphony No. 6 In A Minor: I: Allegro energico, ma non troppo. Heftig aber markig
3. Symphony No. 6 In A Minor: II: Scherzo Wuchtig
4. Symphony No. 6 In A Minor: III: Andante moderato

Tracks:

1. Symphony No. 6 In A Minor: IV: Finale: Allegro moderato
2. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Veni, creator spiritus
3. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Imple superna gratia
4. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Infirma nostri corporis
5. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Accende lumen sensibus
6. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Veni, creator spiritus
7. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Gloria, Patri Domino

Tracks:

1. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Waldung sie schwankt heran
2. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Ewiger Wonnerbrand
3. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Wie Felsenabgrund mir zu Fussen
4. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Gerettet ist das edle Glied
5. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Uns bleibt ein Erdenrest
6. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hier ist die Aussicht frei
7. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hochste Herrscherin der Welt
8. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Ausserst langsam. Adagissimo: Dir, der Unberuhrbaren
9. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Bei der Liebe, die den Fussen
10. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Neige, neige, du Ohnegleiche
11. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Blicket auf zum Retterblick
12. Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Alles Vergangliche

Tracks:

1. Symphony No. 9 In D Minor: I: Andante comodo
2. Symphony No. 9 In D Minor: II: Im Tempo eines gemachlichen Landlers. Etwas tappisch und sehr derb
3. Symphony No. 9 In D Minor: III: Rondo-Burleske: Allegro assai. Sehr trotiz

Tracks:

1. Symphony No. 9 In D Minor: IV: Adagio: Sehr langsam und noch zuruckhaltend
2. Symphony No. 10 In F Sharp Minor: I: Adagio

Amazon.com

Hot on the heels of DG's new reissue of the Bernstein's complete Mahler symphonies and song cycles, EMI has repackaged Klaus Tennstedt's recordings of all 10 symphonies. Although he remade symphonies 5 through 7, these are his first versions, essentially the same performances that used to be available in three separate boxes at mid price. Now at budget price, and at virtually a third of the cost of DG's Bernstein set, Tennstedt's Mahler is one hell of a bargain. The performances aren't as consistent as Bernstein's. The London Philharmonic was never a great Mahler orchestra, and minor errors are fairly common, especially in the Sixth Symphony, which was the conductor's own favorite among all his recordings despite the lapses in the brass section. It's a performance of frightening intensity, and it's easy to understand his affection for it. All of Tennstedt's Mahler features such spontaneity, emotional honesty, and real human warmth that reservations about execution and sound largely fall by the wayside. Hearing it again is a deeply moving experience. --David Hurwitz

Customer Reviews:

Mostly fine but somewhat uneven.......2007-04-26

Tennstedt's interpretations emphasize the darker side of Mahler's scores; hence he is among the "hands on" Mahler conductors, such as Barbirolli. Especially successful interpretations are those of # 1-3, 5, and 9. The sound is mostly fine analogue stereo, but some of the recordings are problematic: early digital with a nasty, edgy sound.

Some comments of each recording.

Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.

Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.

Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).

Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).

Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.

Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).

Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).

Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.

Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.

The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.

Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.

Classic Sound of Mahler from LPO.......2005-09-30

Tennstedt has his unique ways and skill of engeenering the sound of Mahler's symphonies.

Personally, I enjoy this CD set of Symphony 1, 5, 6, 8 and 9

IMHO best Mahler performe........2005-07-25

I can say, what sound quality and performe of this symphonies is on top,best i ever heard. I'm professional musician,so this is not just a mere words.

Tennstedt's Mahler Cycle: A Best Buy.......2005-03-19

Whether you are new to Mahler or just a fellow Mahler enthusiast looking for yet another way of hearing these wonderful works, this well-recorded 11-disc set strikes me as a clear "best buy." I recently acquired a brand-new, sealed copy from one of Amazon's alternative vendors for about $40, which works out to less than $4 per CD.

On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.

My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.

The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).

So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).

Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:

#1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.

#2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).

#3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).

#4. Horenstein (Chief CD) and Kletzki (EMI) now strike me as the finest stereo readings. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.

#5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.

#6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).

#7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. I also treasure the Horenstein despite its poor execution (better heard on a Descant CD than on BBC or M&A). Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.

#8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.

#9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.

#10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.

Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).

This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.

Challenging, Sensitive, Sincerely Committed Performances........2004-04-05

I have the distinct feeling that, in time, Tennstedt's Mahler will grow in the affections of others as it has with me. Simply put, there is something very authentic about these accounts. The sense of commitment is unquestionable. Generally, the interpretations are thoughtful and emotionally satisfying. Tennstedt often digs deeply to ferret a wealth of detail, which provides substantial rewards, including a broader, more fulfilling connection with Mahler's musical messages. (Listen to the thoroughly captivating reading given of the first movement of the Fourth Symphony or the soulful account of the final movement of the Ninth.) The conductor's characterization of these messages tends to be vivid, yet typically free of emotional excess. This is as true of Mahler's uplifting aspects as it is of his anxiety ridden, sardonic and tragic aspects. Where other sets are concerned, I also like Bernstein in his earlier all-New York Philharmonic endeavor and Kubelik with the BRSO on DG. Any of these three compilations merits high marks. Overall, however, it is difficult to pick a clear winner. Each presents individually moving interpretations. My preferred performances in the Bernstein set are 2-3-4-6-7-9 ; in the Tennstedt set, 3-4-5-7-8-9 ; and in the Kubelik set, 1-2-3-5-7-8-9. (Incidentally, after listening to selected excerpts, I'm anxious to hear some of Kubelik's live and complete performances in his Audite set.).... Sonically, Bernstein's recordings are typically fine (but not the Fifth). Tennstedt's are often clear, detailed and ambient, though sometimes there is a touch of brightness and sharpness. Kubelik's are uniformly good except for occasionally tinny sounding trumpets.... Regarding orchestral execution, I am rarely concerned about what some others allude to as occasional inconsistency in the quality of play demonstrated by the New York Philharmonic's horns. Frankly, there are a few intermittent brass problems with Kubelik's BRSO too. As far as what some cite as the London Philharmonic's tendency toward occasional lapses in concentration, either I don't detect those lapses as much or I tune them out or don't care. Tennstedt's is a wonderful set to own. Obviously, it's not perfect, but it's the kind that augurs for solid quality and satisfaction over the long haul. I have absolutely no serious reservations about warmly recommending it.

Average customer rating: My favorite recording of Jenufa For Silja, this coms too late Karita Mattila - born to the role After a long wait, disappointment.

Jenufa: Complete Opera Leos Janacek , Eva Randova , Anja Silja , Bernard Haitink , and Chorus and Orchestra of the Royal Opera House - Covent Garden Manufacturer: Erato ProductGroup: Music Binding: Audio CD Janácek, Leos | ( J ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Hadley, Jerry | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Czech | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Peter Lieberson: Neruda Songs Janacek: Jenufa / Mackerras, Soderstrom, et al Eugene Onegin Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin Music of Peter Lieberson: Rilke Songs, The Six Realms, Horn Concerto ASIN: B000071669 Release Date: 2002-12-17

Tracks:

1. Prelude - Bernard Haitink
2. Uz Se Vecer Chyli - Karita Mattila
3. Co To Robis Mladku? - Karita Mattila
4. Co Ty, Jenufo - Jerry Hadley
5. Dusa Moja, Stevo, Stevusko! - Jerry Hadley
6. A Tak Bychom Sli Celym Zivotem - Chorus Of The Royal Opera House, Covent Garden
7. Stevo, Stevo, Ja Vim - Jerry Hadley
8. Jak Razem Vsecko To Stevkovo Vypinani Schliplo - Karita Mattila
9. Prelude - Bernard Haitink
10. Necham Jeste Dvere Otevreny - Karita Mattila
11. Ba, Ta Tvoje Okenicka - Anja Silja
12. Tetko Kostelnicko - Jerry Hadley
13. Ale Videl Jsem Vchazet Sohaje - Anja Silja

Tracks:

1. Co Chvila... Co Chivla - Anja Silja
2. Mamicko, Mam Tezkou Hlavu - Karita Mattila
3. Kde To Jsem? - Karita Mattila
4. Tot' Zrovna Jde! - Karita Mattila
5. Prelude - Bernard Haitink
6. Neni Ti Teskno, Jenufko? - Karita Mattila
7. Vidis, Laco, Ja Tu Tusila - Karita Mattila
8. A Hen... Uz Jsou Tu! - Jerry Hadley
9. To Bylo Nakeho - Chorus Of The Royal Opera House, Covent Garden
10. Stevo, To Je Ti Strasne - Jerry Hadley
11. To Muj Skutek - Chorus Of The Royal Opera House, Covent Garden
12. Vstante, Pestounko Moja! - Karita Mattila
13. Odesli. Jdi Take! - Karita Mattila

Amazon.com

This new recording of Janácek's Jenufa might not replace the gold standard performance led by Sir Charles Mackerras, but it is superb in many ways. Anja Silja's portrayal here of Kostelnicka is epic; she makes us understand the misplaced morality of this troubled, troubling character--a morality that leads to catastrophe. She is positively hair-raising in the second act. Her hysteria actually makes the listener anxious. Similarly, as Jenufa, our heroine to whom nothing but bad luck and misery come until the very end, soprano Karita Mattila is radiant. One can read her thoughts and feel her feelings by vocal inflection alone, and she is in excellent voice, expressive from top to bottom. Jorma Silvasti is a fine Laca, filled with both remorse and love, singing with a beautiful lyric tenor. Jerry Hadley vocally acts the role of the playboy Steva well, but his voice seems to be in real trouble--worn and strained. Bernard Haitink leads with clarity and warmth, but the lucidity and understanding Mackerras brings to the score are missing. Even if you own the Mackerras, your collection is incomplete without Mattila and Silja, who bring their characters vividly, shockingly to life. --Robert Levine

Customer Reviews:

My favorite recording of Jenufa.......2007-01-28

Why people would even give this less than four stars is a mystery to me, as the team making up this recording has lavished this with perhaps one of the most powerful accounts of the opera ever heard on disc. Jenofa has perhaps had more idiomatic singers and conductors in the studio, such as the Supraphon with Benackova and Kniplova, but this is the most satisfying account in record, at least according to my ears. I've never hears a more vulnerable, proud, courageous, and headstrong Jenofa than Karita Mattila. The way she uses the colors of her voice to create a very vivid characterization of the Moravian peasant girl is most impressive. I have never heard a better Jenofa. She is partnered by the Kostelnicka of Anja Silja, who perhaps gives the most vivid portrayal of this tormented, morally and psychologically degraded character in all the recordings I've heard. True, the voice may not be what it once was. Silja was a vocal wonder who at 19 sang the Queen of the Night, Brünnhilde at 24, and Elektra at 25. At her tender age, she sang the most difficult roles of the German repertoire, eventually turning to the more modern repertoire when her lover Wieland died. She was then the most impressive interpreter of Berg and Schönberg that I've ever heard, and her Janacek is perhaps one of the best ever recorded. Her performances of Emilia Marty, the Kostelnicka, and the Kabanicha are without a doubt dramatic references of these difficult character parts. I don't think there is a singer who has fully captured the Kostelnicka's character as much as Silja does, and with her portrayal of the part, makes the woman a more central character in the plot than in most productions, which is the way it should be anyways. The character is indeed more significant, and if one were to look at Czech country life, this is the interpretation which fully captures the character of a true village mother. Laca is taken by Jorma Silvasti, the best I've ever heard on records. Eva Randova, a former Kostelnicka on Mackerras' recording, is no slouch in the character of the Starenka. Only Jerry Hadley is less than graceful as Steva, although he is quite competent musically. Bernard Haitink leads the London forces with lyrical passion and a modern hand, expressing the score's myriad of colors as effectively as Mackerras does. I think this should be a reference recording for Jenofa, and if some listeners don't like it because of Anja Silja, then one should ask why they listen to singers like Maria Callas, Leonie Rysanek, Gwyneth Jones, and Astrid Varnay, singers who, while imperfect, give some of the truest and strongest characterizations on disc.

For Silja, this coms too late.......2005-01-09

This should have been a marvellous recording, but while Silja makes up, on stage, for vocal shortcomings through sheer presence, obviously that presence is absent on disc, and the voice is left to its own devices. For that, it's now too late. Ten years ago, perhaps, but with all due respect to this outstanding artist, not today. A great shame.

Karita Mattila - born to the role.......2003-02-23

The new Erato (Warner Classics) recording of Jenufa taken from live performances is released this month, after originally being announced for November 2002. There are always problems in transferring live performances onto record, luckily for these superlative performances of Jenufa from Covent Garden last autumn it was only Olivier Tambosi's production that was not a focal point. The highlights of this new set are many, not least Anja Silja's return to the role of the Kostelnicka, Karita Mattila's first appearance in the title-role in Britain, and the outstanding Laca of Jorma Silvasti. It was surprising that Bernard Haitink chose this work out of all the opera repertory he has sought to make his own to conduct in his final season at Covent Garden. His other choice, Tristan und Isolde, was a more obvious choice (something he walked towards throughout his Covent Garden career) and which was very much 'his'. He does not have the command of some of his counterparts, yet these performances are fine enough.

Those used to the pace of the Mackerras release on Decca, or the more rugged interpretations on Supraphon will find Haitink's more romantic measure of this version sometimes at odds with the drama (as with Vladimir Jurovski at the Met performances recently). It is beautifully played by the Covent Garden orchestra, but, as with the Vienna Philharmonic under Mackerras, perhaps too beautifully. The stamping of the live performance will be found distracting by some keen on the purity of the studio situation, but I felt it was almost a blessing at times, and makes the conscripts scene in Act One full of enthusiasm. Haitink does invest much in the specifics of the score, rather than merely revelling in the powerful pace of Janacek's drama, and this is no bad thing. Orchestral solos and the more transparent textures of the Brno 1908 version of the score used on this recording (edited by Mackerras and John Tyrrell) benefit greatly from Haitink's attention to detail.

The two lead women are outstanding. Anja Silja may be a little too old for the opera in the theatre, but her voice and presence here on disc surely make her the Kostelnicka of recent times. Her tirades as the Kostelnièka are among the most frightening I have heard, and she is perhaps even more perspicacious than Eva Randová under Mackerras. Randová, incidentally, appears on the present record as the Grandmother, a touching point of casting and a reminder of the old Decca recording guard. Karita Mattila excels in the title-role. The prayer in Act Two (as on her 'Scenes and Arias' release) is intense yet lyrical and her scenes with Laca and Števa are well drawn. At these more introverted moments the beauty of the orchestra's playing is most welcome.

Although not the main selling point of this new release, Jorma Silvasti is a strident Laca, a tenor with much to give in this repertoire (more recently Laca under Ozawa in Vienna). His moments of reflection with Jenufa, as well as his performance in Act Three, are charming, and his more vitriolic jealous turns are stronger than previous more wimpish interpretations have had us believe. Jerry Hadley as Števa, on the other hand, is not quite the equal of the other principals. His drunkenness in Act One is perhaps a little too vulgar and his voice does show strain in his forgiveness scene with Mattila (Disc 1, Track 7, 5:20) giving little indication of his previous achievements, both on disc (particular in Weill's Street Scene and The Rake's Progress) and in the theatre. I cannot imagine that when he sang Laca at Salzburg it was comparable to Jorma Silvasti's here. The rest of the cast is uniformly sound (particular note going to Jonathan Veira's foreman), and, as ever, the Royal Opera Chorus excels. Some moments in the sound come across as slightly distant because of the relation between pit and stage, but generally it is good, with the orchestra detail (as mentioned above) being particularly lucid. The booklet is beautifully presented, with many photos of the Covent Garden cast. After the detail of John Tyrrell's notes in the Mackerras Decca recording, the single essay in Erato's booklet is a slight disappointment. Some not knowing the production live will find the photos of Frank Philipp Schlössmann's set full of boulders bizarre, but I promise the same was true in the theatre. The recording is, all in all, a great new release (if lacking some of the fire of the Mackerras) and a welcome reminder of this generally fine cast, now thankfully devoid of the asinine production. A delightful addition to the Janacek discography...

After a long wait, disappointment........2003-02-09

It has been a very long time, since a major label has taken the time and money to create a new version of this terrific piece of musical drama. Since the Decca studio version of 1983, all new releases have been live (to preserve the greatness of several artists in various roles), or re-releases of previous studio versions brought about by a lively interest in Janacek and his stage works.

This was a long wait, personally, and we have here a very long rendition of the piece. Timings are much longer than any other renditions of the opera, and it is NOT because of additional music being recorded for the first time. It is due to the reticence of the conductor, Bernard Haitink, to come to grips with the essential nature of the ostinatos rhythms underlying the score. He does not press forward in momentum, as other conductors do, and which I prefer.
If you are fine with hearing every single note and every phrase articulated with precision, this is for you. I do not believe that it adds drama,or a knowing coherency of the work's architecture: it impedes the larger flow of theatrical moments and tension. To be this removed is the choice of the conductor. I have heard a FIDELIO conducted by Haitink that simply blew the audience out of the theatre with dramatic thrust and tension, so I know he is capable of this sort of passion. None of that applies here. The Royal Opera orchestra is wonderful, very clean in their detailed work. The recorded image is good though I'd like more immediacy of the orchestral "voice".

Karitta Mattila has a wonderful upper register. The middle of the voice is problematic - it looses focus and is underpowered. Frequently, I mistake her voice for others when not looking at the libretto.
I even confuse her voice with Anja Silja's at moments. In singing the part of Kostelnicka, Silja's voice is deteriorated beyond the ability to sing this role. She has resources as a vocal actress, yet so much of it is just plain unpleasant, and because we are not being able to see her physical protrayal, means the impact of the role is lessened to a significant degree. I don't feel she dominates the drama as she should. Also in the cast is Eva Randova, who was the wonderful and dramatic Kostelnicka from the Decca recording of 1983 under Charles Mackerras (now there is a conductor who, though slow in tempi also, understood where the arcs of the drama were pointed and what to underscore). Eva Randova, as Grandma Buryja, the head of the family clan, has also deteriorated in her vocal condition, to the point she is barely able to articulate the notes in the phrases. This is unfortunate, because I have a lot of respect for her wonderful recordings of JENUFA and CUNNING LITTLE VIXEN for Mackerras' Decca series. When both Kostelnicka and Grandma Buryja are singing in the same scene, it is very difficult to tell them apart as vocal/dramatic personalities. What a shame. Once again, this takes down the theatrical temperature to a very tepid affair.

The tenor,Jorma Silvestri, would have been most welcome and even wonderful as the braggart and weak Steva. Here he is cast in the heavier role of Laca, which sounds a little past his means, as Mattila does in her's. By the third act, though he continues to sing with attractive tone and security, his impact is also weakened. Jerry Hadley who does sing the part of Steva, shares with Eva Randova, the obstacle of working with the remains of a voice. He is not singing. It comes across as shouting on pitch with a desperate attempt to hold on to the repeated notes when the character is attempting to be manipulative through a certain degree of sensuality. Here he has no ability to finesse the vocal line or project a character. It was a struggle to listen to this section, which has strong folkloric elements that are very engaging, and with some of the most beautiful legato music in the opera. All was lost here, once the fun of a decent tempo for the choral introduction and dance in this scene were past.

The buildup of tension at the end of Act 1, when Jenufa's cheek is slashed by Laca out of jealousy, is also missed. Completely. One hardly knows the act is over, execept for the applause (of an apparently appreciative audience). Act 2 lumps along and the duet of Kostelnicka and Jenufa is too slow to be moving. The decision to kill the baby is without climax. Act 3 actually finds a rhythm that works, though once again slow, and the end though well sung, (Mattila sounds wonderful in this part of the opera) is without significant support from Haitink and so lacks fulfillment.

This could have been a wonderful new addition, but I do not recommend it to anyone. I bought it because I LOVE this work, and am willing to listen to all who choose to embody it.

Average customer rating:

Adagio Chillout Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Barber | Barber, Samuel | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Fauré, Gabriel | ( F ) | Featured Composers, A-Z | Classical | Styles | Music Järnefelt, Armas | ( J ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mussorgsky | Mussorgsky, Modest | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rutter | Rutter, John | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tavener | Tavener, John Kenneth | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Vaughan Williams, Ralph | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General | Vaughan Williams, Ralph | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Guitar | Strings | Instruments | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music 4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music ASIN: B0000BX5KQ Release Date: 2004-07-20

Tracks:

1. Adagio For Strings - Royal Scottish National Orchestra
2. Andante - Jeno Jando
3. Melodie - Konstain Scherbakov
4. Elegy From Gustavas Adolphus II Suite - Helsingborg Symphony Orchestra
5. Requiem - Pie Jesu - Lisa Beckley
6. Fantasia On Greensleeves - New Zealand Symphony Orchestra
7. Elegiaca - New Zealand Symphony Orchestra
8. Diez Melodias Vascas - Iceland Symphonic Orchestra
9. Berecuse - Choir Of St. John's College
10. The Lamb - Choir Of St. Johns College
11. Nocturnes - BRT Philharmonic Orchestra
12. Cum Mortuis In Lingua Morta - National Symphony Orchestra
13. Fantasia Para Un Gentilhombre - Espanola - Asturias Symphony Orchestra
14. Requiem - The Lord Is My Shepherd - City Of London Sinfonia

Average customer rating: Serendipitous hearing yes, the remastering is an improvement

Mahler: Symphonies #4 & 8 'Symphony of a Thousand' - Klaus Tennstedt, London Philharmonic Orchestra & Choir Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Similar Items: Mahler Symphonies 1 & 8 (Symphony of a Thousand) / Klaus Tennstedt, Chicago Symphony Orchestra, London Philharmonic Orchestra Bach: Brandenburg Concertos Mahler: Symphony No. 6; Piano Quartet [Hybrid SACD] The Judi Dench Collection Peter Lieberson: Neruda Songs ASIN: B000I2ISMC Release Date: 2006-10-03

Tracks:

1. Symphony 4 G Major: I - Bedachtig. Nicht eilen
2. Symphony 4 G Major: II - In gemachlicher Bewegung. Ohne Hast
3. Symphony 4 G Major: III - Ruhevoll
4. Symphony 4 G Major: IV - Sehr behaglich
5. Symphony 8 E Flat (Part One - Hymnus, Veni, creator spiritus): Veni, creator spiritus
6. Symphony 8 E Flat (Part One - Hymnus, Veni, creator spiritus): Imple superna gratia
7. Symphony 8 E Flat (Part One - Hymnus, Veni, creator spiritus): Infirma nostri corporis
8. Symphony 8 E Flat (Part One - Hymnus, Veni, creator spiritus): Accende lumen sensibus
9. Symphony 8 E Flat (Part One - Hymnus, Veni, creator spiritus): Veni, creator spiritus
10. Symphony 8 E Flat (Part One - Hymnus, Veni, creator spiritus): Gloria, Patri Domino

Tracks:

1. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Waldun, sie schwankt heran
2. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Ewiger Wonnebrand
3. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Wie Felsenabgrund mir zu Fussen Allegro deciso
4. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Gerettet ist das edle Glied
5. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Uns bleibt ein Edenrest
6. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Hier ist die Aussict frei
7. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Hochste Herrscherin der Welt Ausserst langsam. Adagissimo
8. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Dir, der Unberuhrbaren
9. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Bei der Liebe, die den Fussen
10. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Neige, neige, du Ohnegleiche
11. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Blicket auf zum Retterblick
12. Symphony 8 E Flat (Part Two - Finale scene from 'Faust'): Alles Vergangliche

Album Description

Gustav Mahler's largest composition "SYMPHONY #8 in E Flat 'SYMPHONY OF A THOUSAND'" is featured in this remastered recording by conductor Klaus Tennstedt, London Philharmonic Choir & Orchestra. The recording features many wonderful soloists including Felicity Lott, Hans Sotin, Edith Wiens, Elizabeth Connell, Trudeliese Schmidt, Richard Versalle, Jorma Hynninen & Nadine Denize. Recorded in 1986 in London, this is considered by many to be definitive & offers superior sound quality.

The 2 disc set also offers Mahler's SYMPHONY #4 in G again by Klaus Tennstedt & London Philharmonic & features soprano Lucia Popp singing the beautiful & haunting text from 'Das Knaben Wunderhorn'.

Customer Reviews:

Serendipitous hearing.......2007-07-07

This Mahler 4th was on the car radio this morning, so it was an unexpected pleasure. I found it so delightful that I had a "car moment"--I sat w/ the a/c running for about 20" so I could hear whose version it was. I use this symphony in my teaching frequently, so I am quite familiar with it, and I must say, I heard orchestral details that I had never really heard before, in such a context as Tennstedt created. On the other hand, I also did not hear other details that I feel are equally important and that did not directly conflict w/ what Tennstedt was doing at that moment.

But what was simply stunning to my ears was Lucia Popp's rendition of the last movement Wunderhorn song. I thought that at moments it--her voice--was not properly mixed (too soft), but overall I can't recall anyone's doing it better since Heather Harper back in the '60's. Her expressiveness is remarkably vivid and comprehending, but beyond that, in a way I've not heard before, she managed to portray the "himmlische" quality of Mahler's setting in a manner I found to approach a quality of "new."

I have not heard the version of the 8th on this set and cannot comment, but to me, the set is worth buying for the sensitivity and expressiveness and sheer overall beauty of the performance of the 4th.

yes, the remastering is an improvement.......2006-12-30

Unless you want your Mahler 8th on a single disc, this may now be the best overall recommendation of any. I like the Gary Bertini/Cologne Radio S.O. M8 best of all, but you can only get it in the box set of his whole cycle. The Naxos one might be slightly better conducted (Antoni Wit), but the soloists are clearly better on the Tennstedt. The inclusion of Tennstedt's surprisingly lively account of the Mahler 4th symphony makes this an attractive bargain. Lucia Popp isn't ideal for the Wunderhorn song that caps the 4th, but she's better than many . . . ummmmm, no, better than most, really. And as with the "GROC" remastering of Simon Rattle's famous "Resurrection" recording (second symphony), the sound is truly improved on both symphonies here. I also find this middle 80's studio recording preferable to Tennstedt's 1991 remake of the 8th that just got issued on DVD. That one is simply waaaaay too slow in numerous spots. This one is highly recommended for anybody who's new to either work, or is an admirer of Tennstedt's conducting in general.

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