28 Schlager: Schlag Auf Schlag [Import]

1. Medley: Tanze Mit Mir in Den Morgen

2. Medley: In the Mood

3. Medley: Du Schwarzer Zigeuner

4. Medley: O Mein Opa

5. Medley: Junge, Komm Bald Wieder

6. Medley: Spiel' Noch Einmal Für Mich/Habanero

7. Medley: Seemann/Deine Heimat Ist das Meer

8. Medley: La Paloma

9. Medley: Ein Schiff Wird Kommen

Tracks:

Kommt, ihr Toechter, helft mir klagen
Da Jesus diese Rede vollendet hatte
Herzliebster Jesu, was hast du verbrochen
Da versammleten sich die Hohenpriester / Ja nicht auf das fest / Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat / Da das Jesus merkete
Du lieber Heiland du
Buss und Reu
Da ging hin der Zwoelfen einer
Blute nur, du liebes Herz
Aber am ersten Tage der suessen Brot / Wo willst du, dass wir dir bereiten / Er sprach: Gebet ihn in die Stadt / Un sie wurden sehr betrubt / Herr, bin ich's
Ich bin's, ich sollte buessen
Er antwortete und sprach:
Wiewohl mein Herz in Traenen schwimmt
Ich willdir mein Herze schenken
Und da sie den Lobgesang gesprochen hatten
Erkenne mich, mein Hueter
Petrus aber antwortete
Ich will hier bei dir stehen
Da kam Jesus mit ihnen zu einem Hofe
O Schmerz! hier zittert das gequaelte Herz
Ich will bei meinem Jesu wachen
Und ging hin ein wenig
Der Heiland faellt vor seinem Vater nieder
Gerne will ich mich bequemen
Und er kam zu seinen Juengern
Was mein Gott will, das g'scheh' allzeit
Und er kam und fand sie aber schlafend
So ist mein Jesus nun gefangen / Sind Blitze, sind Donner in Wolken verschwunden
Und siehe, einer aus denen
O Mensch, bewein' dein Suende gross

Tracks:

Ach! nun ist mein Jesus hin
Die aber Jesum gegriffen hatten
Mir hat die Welt trueglich gericht't
Und wiewold viel falsche Zeugen herzutraten
Mein Jesus schweigt zu falschen Luegen stille
Geduld, Geduld!
Und der Hohepriester antwortete / Er ist des Todes schuldig / Da speieten sie aus in sein Angesicht / Weissage uns, Christe
Wer hat dich so geschlagen
Petrus aber sass draussen im Palast / Wahrlich, du bist auch einer von denen
Erbarme dich
Bin ich gleich von dir gewichen
Das Morgens aber heilten alle Hohenpriester / Was gehet uns das an / Und er warf die Silberlinge in den Tempel
Gebt mir meinen Jesum wieder
Sie heilten aber einen Rat
Befiehl du deine Wege
Auf das Fest aber hatte der Landpfleger / Lass in kreuzigen!
Wie wunderbarlich ist doch diese Strafe
Der Landpfleger sagte
Er hat uns allen wohlgetan
Aus Liebe will mein Heiland sterben
Sie schrieen aber noch mehr / Lass in kreuzigen! / Da aber Pilatus sahe / Sein Blut komme uber uns / Da gab er ihnen Barrabam los
Erbarm es Gott
Koennen Traenen meiner Wangen

Tracks:

Da nahmen Kriegsknechte / Gegruesset seist du, Judenkoenig / Und speieten ihn an
O Haupt voll Blut und Wunden
Und da sie ihn verspottet hatten
Ja! freilich will in uns das Fleisch und Blut
Komm, suesses Kreuz
Und da sie an die Staette kamen / Der du den Tempel Gottes zerbrichst / Desgleichen auch die Hohenpreister / Andern hat er geholfen / Desgleichen schmaeheten ihn
Ach, Golgatha, unsel'ges Golgatha
Sehet Jesus hat die hand
Und von der sechsten Stunde / Der rufet dem Elias / Und bald lief einer unter ihnen / Halt, lass sehen / Aber Jesus schriee abermals laut
Wenn ich einmal soll scheiden
Und siehe da, der Vorhang im Tempel zerriss / Wahrlich, dieser ist Gottes Sohn gewesen / Und es waren viel Weiber da
Am Abend da es kuehle war
Mache dich, mein Herze, rein
Und Joseph nahm den Leib / Herr, wir haben gedacht / Pilatus sprach zu ihnen
Nun ist der Herr zu Ruh gebracht
Wir setzen uns mit Traenen nieder

Amazon.com essential recording

The St. Matthew Passion, Bach's monumental retelling of the story of the Last Supper and the arrest and execution of Jesus, typically runs from two-and-a-half to three hours. Yet this performance makes the time... well, not exactly fly past (consider the subject matter), but it's not tedious for even a second. Much of the credit for this goes to the marvelous Evangelist, Ian Bostridge. He's an outstanding narrator: the clear tone and diction, skillful timing, and intense involvement with words that made him a famous lieder singer are all in evidence; his part consists of nothing but recitative, yet he holds your interest unfailingly. Franz-Josef Selig gives a more dramatic reading of Jesus than you usually hear these days--he may be a bit too "operatic" for some listeners, but he really communicates his character's very human anguish and sorrow. Similarly, soprano Sibylla Rubens, tenor Werner Güra, and bass Dietrich Henschel sometimes unleash a bit too much vibrato for some tastes, but their singing is full-throated and attractive and they're very sensitive to the nuances in the text and music. Superstar countertenor Andreas Scholl is the standout--he combines unearthly purity with very earthly feeling and blends beautifully with the baroque instruments. The real stars of the record, however, are Philippe Herreweghe and his remarkable choir and orchestra. This conductor and his musicians (especially his radiant choir, Collegium Vocale) have always been superb at conveying warmth, devotion, and contemplation, but intense joy, anguish, or anger have sometimes seemed beyond them. Not here: they cover the full emotional range of this work--from reverent reflection to anguished remorse to churning fury--without ever crossing the line into melodrama or sacrificing clarity.

On top of all this, you get a CD-ROM chock full of interesting and well-organized information (in English, German, and French): texts as well as an overview with a timeline of Bach's life, a discussion of how the work is put together, marvelous graphics, sound clips, and an extensive interview with Herreweghe himself. A superb accompaniment to a superb release. --Matthew Westphal

Customer Reviews:

Beautiful.......2007-02-03

Do not hesitate for a moment to purchase this CD/CD ROM package. I researched thoroughly the many recordings of this work, and I am very pleased to have decided on this one. It is a gorgeous, moving recording.

a voice teacher and early music fan.......2007-01-08

Bach (1685-1750), a Lutheran, was specifically asked by St. Thomas' Church, Leipzig, to supply a non-theatrical Passion. In this context passion stands for the act of passive suffering, of watching and occasonally empathising in the suffering of Christ, a development which began in the Middle Ages when the church took steps to popularise the Bible. When sung, the role of the Evangelist would be taken by a tenor and that of Jesus by a bass. As various instruments were added they began to be associated with certain roles and as with opera any dramatic action in the text occurred during the recitative. The chorus has two functions: to participate in the action and then to reflect upon it, such reflections provided by the chorales which were familiar Lutheran hymns.
The St. Matthew Passion was composed for the Good Friday service at the St. Thomas Church in Leipzig in 1727. As time went on Bach revised and added other pieces and subsequently this Passion became the grandest and the largest of his works. He used a Double Chorus, included a third soprano group for the opening and close of Part One, two orchestras split so that they either accompanied the first or the second chorus, four soloists who carry specific parts and a number of other singers who have other roles. The Gospel of Matthew, Chapters 26 and 27 plus traditional Lutheran chorales and meditative poems (by Henrici also known as Picander) provide the text.The Evangelist narrates the action scene by scene.
Although the work as a whole is somewhat heavy and sombre there are some lighter moments to treasure, and none more delightful than the soprano aria in Part One "Ich will dir mein Herze schenken" (I will give my heart to Thee). Part two contains the best known and loved aria from the work "Erbarme dich,mein Gott" (Have mercy, my God) for alto and violin obligato and pizzicato bass. The death is terse but dramatic as is the earthquake following with the heartrending crying "Walrlich dieser ist Gottes Sohn gewesen" (Truly this was the Son of (God). It all ends with a Sarabande-like chorale bidding Jesus to rest in peace.
The packageing of this edition is outstanding; the booklet includes absolutely all the documentation that one may need to fully comprehend this monumental work of Bach's. In addition, the the 3 CD's, there is a CD-Rom that explains the entire procedure for the production of this recording (in 3 languages:French,English and German).
The performance itself is excellent and beyond reproach. Ian Bostridge is all that one would desire in a tenor Evangelist; a joy just to hear his voice. Andreas Scholl gives one of the most emotional performances I have ever heard from him; he tends to be somewhat 'laid-back' in some renditons, but not in this one. Just my opinion; all you Scholl fans, don't get excited!!!!!I suggest you allow yourself an entire day to explore this wonderful musical experience.

The True Drama of the St. Matthew Passion.......2006-04-11

There are gratefully many recordings of Bach's great St. Matthew Passion from which to choose, and the approaches to this long and mighty work of inspiration are varied. While this listener cut his teeth of the old Klemperer recording now re-mastered from the LP days to CD, this recording under the sensitive and commanding control of Philippe Herreweghe has become the recording most favored for return listenings, especially during the Holy Week. Herreweghe obviously knows the work from intense study, a fact that gives him all the stamina to make the overall Passion work both musically and dramatically.

Herreweghe draws sumptuous playing from his Collegium Vocale Orchestra and Chorus, keeping the period sound intact while adding the contemporary trend for finding the operatic aspects of the work in the lead of all the other recordings. Of course he has an extraordinary group of soloists who give definitive performances. The leading actor is the Evangelist who guides us through the arrest and assassination the Jesus according to the Gospel of Matthew: Ian Bostridge not only has a beautiful tenor voice, rich and warm, but he also offers perfect enunciation of the text and delivers his comments with the exact amount of propelling drama. The role of Jesus is strongly delivered by Franz-Josef Selig and matches his competition (Fischer-Dieskau, Quasthoff and Goerne included!) in conveying both the agony and the transcendence of Bach's lines.

Add to this strong matrix the exquisite singing of Andreas Scholl and the solo work by Sibylla Rubens, Werner G?ra, Dietrich Henschel, Dominik Worner, Elisabeth Hermans, Susan Hamilton and Frits Vanhulle and the beauty of the drama is perfect. This is truly the most dramatic performance of Bach's most dramatic Passion and one to cherish for years. Highly Recommended. Grady Harp, April 06

My favorite too!.......2005-09-17

I own six different St. Matthew Passion recordings, and this is my favorite. Herrweghe gets it right. I am not a stickler for HIP, but prefer it. In my opinion this is the most balanced high quality HIP treatment of the St. Matthew available. Get it!

Excellent work - but problems with sound level.......2005-05-29

I have no complaints about the performance, with the exception of two points: (1) the bass can at times sound too sharp and loud; (2) there is a bit of showing off, desire to impress the listener. Otherwise the work is awesome, but I am irritated by the recording quality. I thought that I would get used to it, but as I continue to listen to it, it irritates me more and more. The sound level is unequal. It is either too low, or annoyingly too high. I simply cannot just turn on the CD and listen through without adjusting volume levels all the time. Music becomes too quiet, then it bursts into sudden loudness, sharp, unpleasant sounds, which is extremely vexing. This is the main reason for my not listening to this recording more often. To add insult to injury, the bonus CD does not work on my computer, but freezes and muddles up. If I knew about this, I wouldn't have bought these CDs. Fortunately, I have also Herreweghe I, which I prefer to this one. But my all time favourite is - HARNONCOURT.

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Wonderful music, great playing, even better price
This is well worth the price
Not Ashkenazy's forte (pun on forte intended)
beautifully played, wonderful and overlooked pieces

Works for Solo Piano
Schumann , and Ashkenazy
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006IU8T
Release Date: 2003-03-11

Tracks:

Arabeske In C, Op.18
Papillons, Op.2
Symphonic Studies, Op.13
Carnaval, Op.9
Humoreske, Op.20
Noveletten, Op.21
Waldszenen, Op.82
Kinderszenen, Op.15
Piano Sonata No.1 In F Sharp Minor, Op.11
8 Fantasiestke, Op.12
Blumenstk, Op.19
Davidsbdlertze, Op.6
Kreisleriana, Op.16
Noveletten, Op.21
Piano Sonata No.2 In G Minor, Op.22
Abegg Variations, Op.1
Fantasie In C, Op.17
Faschingsschwank Aus Wien, Op.26
Bunte Blter, Op.99
Nachtstke, Op.23
3 Romanzen, Op.28

Amazon.com

For less than $60, this seven-CD set brings the buyer almost all of Schumann's important works for solo piano performed by one of the great pianists of the last 50 years. Ashkenazy is nearly as insightful an interpreter of Schumann as he is of Chopin and the quality of these performances, which were recorded between 1984 and 1995, is generally high. The gnarled F-sharp Minor Sonata is beautifully organized, as well as emotionally compelling; "Papillons" has style, color, and flexibility; "Waldszenen" displays poetry, strength, and simplicity; the G-Minor Sonata is clearly outlined and impeccably delivered; "Kinderszenen" is played with fluidity and nuance; and "Carnaval" is delivered with bigness of conception, virility, and authority that make it among the finest ever recorded. Even on those occasions when Ashkenazy fails to reach such heights--as he does, for example, in a "Davidsbundlertanze" that is a mite too solemn and deliberate for the music's helter-skelter whimsy--his performances still achieve a distinguished standard. Nevertheless, it is Ashkenazy's misfortune that he must compete against his younger self. The readings in this set of the Symphonic Etudes, the Fantasy in C Major, "Kreisleriana," and the "Humoresque" fall short compared to those Ashkenazy recorded in the 1960s and early 1970s. In those earlier performance--reissued on a Double Decca set--the notes roll off the pianist's fingers in a dazzling and melting manner, with a singing tone and a sense of rapture, that he was unable to match 20 years later. --Stephen Wigler

Album Details

Few Pianists have Explored and Recorded Such a Wealth of Keyboard Literature as Vladimir Ashkenazy. During an Association with Decca which Stretches Back Almost 40 Years Now, Ashkenazy Has Completed Cycles of Some of the Most Important Concertos (Mozart, Beethoven, Prokofiev, Bartók and Rachmaninov), as Well as an Extensive Amount of Solo Literature.two Of the Greatest Figures in 19th-century Piano Music Are Chopin and Schumann, and Music by Both Composers Has Featured, and Continues to Feature, in Ashkenazy's Recitals. He Has Recorded Almost all of Chopin Solo Works and During the Years 1984-95 Undertook a Major Survey of Schumann's Solo Literature (Some Works Including the Sinfonische Etüden, Fantasie, Kreisleriana and Humoreske) Ashkenazy Had Recorded Earlier in his Career). These Digital Recordings Are Now Presented as a Box Set for the First Time and Are an Invaluable Collection of the Composer's Most Important Keyboard Works, Performed by One of the Greatest Pianists of his Ge

Customer Reviews:

Wonderful music, great playing, even better price.......2007-07-03

I keep reading reviews that say things like: "Well others have played this piece better than Ashkenazy..." or "If you want a complete set of Schumann piano works then Ashkenazy is adequate and a good bargain..."

I may not have heard every version of these Schumann pieces played by every pianist in the 20th century, but I can say that Ashkenazy plays these pieces absolutely wonderfully- with both technical virtuosity and emotional depth. If you really want to cobble together a collection of the "absolute best" Schumann pieces, and spend a couple hundred dollars in the process, that's certainly your prerogative.

I just can't see how anyone can fault Ashkenazy's playing of these pieces as being lesser than others. To my ears, he plays them faultlessly. There are times during the recording where I want to stand up and applaud, others when I want to weep.

For about $5-$8 per disc (depending on who you purchase it from) you can have this wonderful music. Buy it now, and listen often!

This is well worth the price.......2005-12-03

On the whole, this set is very good. true, ash's doesnt quite match up to pollini's recent dg david or kreis, but few do. There are still many gems here, some of which i rank as the top of the list in terms of interpretation. Firstly, waldszenen is giving an account here which in a word, is simply miraculous. Listen to how well he shapes the theme in the second piece, while most are struggling just to pull off the ferociously difficult chord jumps, yet ash does it with civility. Not even richter's fifities account is as well played or shaped. The kinderszenen is also marvelous, though not the best ever, or the second best or third(or fourth).....
But what every piece does give you, what ash himself seems to offer now, is a high standard of playing, though little over the top. But dont take that the wrong way, this set is a perfect way for anyone, even those pianophiles, to imburse or reimburse themselves in Schumann's wonderful world.
1.Wald-ash,haskil, richter, kempff
2.Kinder-moise, cortot, horsz, kempff
3.Davids-Giese, Pollini
4.Carnaval-Rach, Arrau
5.Sonata 1-Gilels, Ash
6. Symph Etudes- Richter, Richter, Richter, anda
7. Fant in C-Moise, Backhaus, Cohen, Richter
8. Humoreske-Richter-56 moscow, kempf. F

Not Ashkenazy's forte (pun on forte intended).......2004-11-21

On the whole, Ashkenazy just does not seem to be a gifted interpreter of Schumann. These readings, to my ear, are heavy handed, pedantic, burdensome, and lacking in the mysterious joy that pervades so much of the work of the Romantic master. Some performances are OK. The Sinfonische Etuden would probably the best of the lot. But in works like Carnaval, the Novelletten, Faschingschwank aus Wien, and the Kinderszenen Ashkenazy to my liking totally misses the target.

I much prefer the more introspective approach of Arrau, or the wild and intriguing Pollini. Even Barenboim comes closer to the heart of Schumann than Ashkenazy.

The recorded sound is often disappointing also. The sound on some pieces is so muddy I thought the microphone was behind a wall.

beautifully played, wonderful and overlooked pieces.......2003-04-29

This set is a remarkable value. Yes, you could choose some individual performances of certain works that are better, but for the price, this is a remarkable set. Ashkenazy is sympathetic to these wonderful and often overlooked solo piano compositions. Highly recommended.

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Elly Ameling now more available
Delight in every note
While they last...
Treasures From a Treasure
More than fully earned praise for an exceptional singer.

Artistry of Elly Ameling (Coll)
Elly Ameling
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B00007KMSJ
Release Date: 2003-10-14

Tracks:

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20 Morike-Lieder

Customer Reviews:

Elly Ameling now more available .......2007-03-07

I had a 33 rpm album of Elly Ameling singing Schubert lieder accompanied by piano and clarinet at times. It was one of my all time favorite albums so I have been disappointed that I have not been able to find it anywhere on CD.

Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.

I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.

I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.

Delight in every note.......2006-03-10

To speak as briefly as possible about this superb collection from an equally superb singer, what can I say but that Ms Ameling possessed a voice that shone with radiant warmth and star-like shimmer? And unlike many another light lyric soprano, Elly Ameling was possessed of a very high standard of musicianship, considerable intelligence, and a sort of immediate charm that captivates the listener.

So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.

I recommend this set unequivocally. It truly is sheer delight.

While they last..........2005-05-17

Elly Ameling held the quiet stage for recitals of great artistry and dignity for several decades and sadly most of the enormously successful CDs of her long career output are now unavailable. For those who have little access to the documentation of this very special artist, this box set is a must. It is a compilation of many of her recordings with differing accompanists, conductors, orchestras and composers. And while not all of the choices for inclusion here would be considered her greatest moments, there are enough works that sustain the warm memories of the little Dutch hausfrau who quietly and simply paid homage to composers with her clear and intelligent musicianship and radiant voice.

Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.

Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05

Treasures From a Treasure.......2004-09-25

Treasures from a Treasure.

Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.

What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.

I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)

Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise.

More than fully earned praise for an exceptional singer........2003-07-15

As I had the privilige of hearing this outstanding Lied-singer during her long career in Holland and being the proud possessor of almost all her recordings, I cannot but fully agree with the professional and joyful review of Mr. Robert Holliston from Victoria, B.C. Canada.
Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released.
Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!)
For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds....
Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!

Stokowski Transcriptions: Bach, Beethoven, Boccherini, etc.

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Stokowski Transcriptions: Bach, Beethoven, Boccherini, etc.

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00009KHYI
Release Date: 2005-03-01

Tracks:

Sheep May Safely Graze
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Average customer rating:

Nothing but hits

Essential Hyperion, Vol. 2

Manufacturer: Hyperion UK
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The Essential Hyperion (Label Highlight Compilation)
Essential Purcell

ASIN: B00004RITB
Release Date: 2001-01-09

Customer Reviews:

Nothing but hits.......2001-01-31

As with their first collection of label highlights, Hyperion's new two-disc collection provides a broad sampling of their exceptional catalogue and performers. Particularly rewarding are the selections from Beethoven (Scherzo from String Trio in C minor, op 9 no 3, performed by the Leopold Trio) and Thomas Tallis (Salvator mundi I, performed by the Winchester Cathedral Choir), but experienced and novice listeners alike will find much to enjoy on these discs. It's also a good value--more than 2 1/2 hours of music for less than $10.

Average customer rating:

Thank You Boulez
5 Star music. Some very good performances, some are aimless.
not much more to be said
a transcendent masterpiece
Five stars and a bullet

Complete Webern
Anton von Webern , Clemens Hagen , David Finckel , Anton Webern , Pierre Boulez , Ensemble InterContemporain , Mary Ann McCormick , Berliner Philharmoniker , Eric Schneider , Gianluca Cascioli , Krystian Zimerman , Oleg Maisenberg , Pierre-Laurent Aimard , Christiane Oelze , Francoise Pollet , Lawrence Dutton , Gidon Kremer , and Philip Setzer
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Alban Berg Collection / Various (Coll)
Arnold Schoenberg: Chamber Music for Strings
Arnold Schoenberg: Serenade/Five Pieces For Orchestra
Schoenberg: Piano Concerto
Schoenberg: Piano Works

ASIN: B00004R9F0
Release Date: 2000-05-09

Tracks:

Passacaglia For Orchestra Op. 1: Sehr massig, Tempo I - Massig bewegt, Tempo II - Sehr lebhaft, Tempo III
5 Movements Op. 5: I. Heftig bewegt
5 Movements Op. 5: II. Sehr langsam
5 Movements Op. 5: III. Sehr lebhaft
5 Movements Op. 5: IV. Sehr langsam
5 Movements Op. 5: V. In zarter Bewegung
6 Pieces For Orchestra Op. 6: I. Etwas bewegte Achtel
6 Pieces For Orchestra Op. 6: II. Bewegt
6 Pieces For Orchestra Op. 6: III. Zart bewegt
6 Pieces For Orchestra Op. 6: IV. Langsam. Marcia funebre
6 Pieces For Orchestra Op. 6: V. Sehr langsam
6 Pieces For Orchestra Op. 6: VI. Zart bewegt
2 Arrangements: J.S. Bach: Fuga (Ricercata) a 6 voci: Sehr massig
Franz Schubert: German Dances Op. Post. D 820: No. 1 - No. 2 (No. 1) - No. 3 ( No. 1) In A Flat Major
Franz Schubert: German Dances Op. Post. D 820: No. 4 - No. 5 (No. 4) - No. 6 (No. 4) In B Flat Major
Im Sommerwind - Idyll For Large Orchestra: Ruhig bewegt - Ruhig - Lustig - Schnell - Feierlich bewegt - Voll Schwung - Aufjauchzend - sehr ruhig und weihevoll

Tracks:

5 Pieces For Orchestra: I. Bewegt
5 Pieces For Orchestra: II. Langsam (sostenuto)
5 Pieces For Orchestra: III. Sehr bewegte Viertel
5 Pieces For Orchestra: IV. Langsame Viertel
5 Pieces For Orchestra: V. (Alla breve)
3 Orchestral Songs: I. Leise Dufte: 'Leise Dufte, Bluten so zart'
3 Orchestral Songs: II. Kunfttag III: 'Nun wird es wieder Lenz'
3 Orchestral Songs: III. 'O sanftes Gluhn der Berge'
Symphony Op. 21: I. Ruhig schreitend
Symphony Op. 21: II. Variationen: Thema. Sehr ruhig - Var. I. Lebhafter - Var. II Sehr lebhaft - Var. III. Wieder massiger - Var. IV. Ausserst ruhig - Var. V. Sehr lebhaft - Var. VI. Marschmassig. Nicht eilen - Var. VII. Etwas breiter - Coda
Das Augenlicht Op. 26: 'Durch unsre offnen Augen' - 'The Eyes Of Radiance' - Langsam
Cantata No. 1 Op. 29: I. 'Zundender Lichtblitz des Lebens' - Getragen - Lebhaft
Cantata No. 1 Op. 29: II. 'Kleiner Flugel Ahornsamen' - Leicht bewegt
Cantata No. 1 Op. 29: III. 'Tonen die seligen Saiten Apolls' - Ruhig
Variations For Orchestra Op. 30
Cantata No. 2 Op. 31: I. 'Schweigt auch die Welt' - Sehr lebhaft - Ruhig
Cantata No. 2 Op. 31: II. 'Sehr tief verhalten innerst Leben' - Sehr verhalten
Cantata No. 2 Op. 31: III. 'Schopfen aus Brunnen des Himmels' - Sehr bewegt
Cantata No. 2 Op. 31: IV. 'Leichteste Burden der Baume' - Sehr lebhaft
Cantata No. 2 Op. 31: V. 'Freundselig ist das Wort' - Sehr massig
Cantata No. 2 Op. 31: VI. 'Gelockert aus dem Schosse' - Sehr fliessend

Tracks:

Piano Quintet: Moderato
'Entflieht auf leichten Kahnen' op. 2: Zart bewegt
2 Lieder op. 8: I. 'Du, der ichs nicht sage'
2 Lieder op. 8: 'Du machst mich allein'
5 Pieces for Orchestra op. 10: I. Sehr ruhig und zart
5 Pieces for Orchestra op. 10: II. Leghaft und zart bewegt
5 Pieces for Orchestra op. 10: III. Sehr langsam und ausserst ruhig
5 Pieces for Orchestra op. 10: IV. Fliessend, ausserst zart
5 Pieces for Orchestra op. 10: V. Sehr fliessend
4 Lieder op. 13: I. Wiese im Park: 'Wie wird mir zeitlos'
4 Lieder op. 13: II. Die Einsame: 'An dunkelblauem Himmel'
4 Lieder op. 13: III. In der Fremde: 'In fremden Lande lag ich'
4 Lieder op. 13: IV. Ein Winterabend: 'Wenn der Schnee ans Fenster fallt'
6 Lieder op. 14: I. Die Sonne: 'Taglich kommt die gelbe Sonne'
6 Lieder op. 14: II. Abendland I: 'Mond, als trate ein Totes'
6 Lieder op. 14: III. Abendland II: 'So leise sind die grunen Walder'
6 Lieder op. 14: IV. Abendland IV: 'Ihr grossen Stadte steinern aufgebaut'
6 Lieder op. 14: V. Nachts: 'Die Blaue meiner Augen'
6 Lieder op. 14: VI. Gesang einer gefangenen Amsel: 'Dunkler Odem im grunen Gezweig'
5 Sacred Songs op. 15: I. 'Das Kreuz, das musst' er tragen'
5 Sacred Songs op. 15: II. Morgenlied: 'Steht auf, ihr lieben Kinderlein'
5 Sacred Songs op. 15: III. 'In Gottes Namen aufstehn'
5 Sacred Songs op. 15: IV. 'Mein Weg geht jetzt voruber'
5 Sacred Songs op. 15: V. 'Fahr hin, o Seel', zu deinem Gott'
5 Canons op. 16: I. 'Christus factus est'
5 Sacred Songs op. 15: II. 'Dormi Jesu, mater ridet' From 'Des Knaben Wunderhorn'
5 Sacred Songs op. 15: III. 'Crux fidelis'
5 Sacred Songs op. 15: IV. 'Asperges me, Domine'
5 Sacred Songs op. 15: V. 'Crucem tuam adoramus, Domine'
3 Traditional Rymes op. 17: I. 'Armer Sunder, du'
3 Traditional Rymes op. 17: II. 'Liebste Jungfrau, wir sind dein'
3 Traditional Rymes op. 17: III. 'Heiland, unsre Missetaten'
3 Lieder for voice, E flat clarinet and guitar op. 18: I. 'Schatzerl klein'
3 Lieder for voice, E flat clarinet and guitar op. 18: II. Erlosung: 'Mein Kind, sieh an' From 'Des Knaben Wunderhorn'
3 Lieder for voice, E flat clarinet and guitar op. 18: III. 'Ave , Regina coelorum'
2 Lieder op. 19 for mixed choir: I. 'Wiess wie Lilien'
2 Lieder op. 19 for mixed choir: II. 'Ziehn die Schafe'
Quartet op. 22: I. Sehr massig
Quartet op. 22: II. Sehr schwungvall
Concerto op. 24: I. Etwas lebhaft
Concerto op. 24: II. Sehr schwungvoll
Concerto op. 24: III. Sehr rasch

Tracks:

3 Poems: I. Vorfruhling: 'Leise tritt auf...'
3 Poems: II. Nachtgebet der Braut: 'O mein Geliebter'
3 Poems: III. Fromm: 'Der Mond scheint auf mein Lager'
8 Early Lieder: I. Tief von fern: 'Aus des Abends weissen Wagen'
8 Early Lieder: II. Aufblick: 'Uber unsre Liebe hangt eine Trauerweide'
8 Early Lieder: III. Bleuengruss: 'Der Strauss, den ich gepflucket'
8 Early Lieder: IV. Bild der Liebe: 'Von Wald umgeben'
8 Early Lieder: V. Sommerbend: 'Du Sommerbend! Heilig, goldnes Licht!'
8 Early Lieder: VI. Heiter: 'Mein Herz ist wie ein See so weit'
8 Early Lieder: VII. Der Tod: 'Ach, es ist do dunkel in des Todes Kammer'
8 Early Lieder: VIII. Heimgang in der Fruhe: 'In der Dammerung'
3 Lieder on poems by Ferdinand Avenarius: I. Gefunden: 'Nun wir uns lieben, rauscht mein stolzes Gluck'
3 Lieder on poems by Ferdinand Avenarius: II. Gebet: 'Ertrage du's, lass schneiden dir den Schmerz'
3 Lieder on poems by Ferdinand Avenarius: III. Greunde: 'Schmerze und Freuden reift jede Stunde'
5 Lieder on poems by Richard Dehmel: I. Ideale Landschaft: 'Du hattest einen Glanz auf deiner Stirn'
5 Lieder on poems by Richard Dehmel: II. Am Ufer: 'Die Wlet verstummt, dein Blut erklingt'
5 Lieder on poems by Richard Dehmel: III. Himmelfahrt: 'Schwebst du nieder aus den Weiten'
5 Lieder on poems by Richard Dehmel: IV. Nachtliche Scheu: 'Zaghaft vom Gewolk ins Land'
5 Lieder on poems by Richard Dehmel: V. Helle Nacht: 'Weich kusst die Zweige der weisse Mond'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: I. 'Dies ist ein lied'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: II. ''Im windes-weben'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: III. 'An baches ranft'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: IV. 'Im morgen-taun'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: V. 'Kahl reckt der baum'
5 Lieder on poems by Stefan George op. 4: I. Eingang: 'Welt der gestalten lang lebewohl!'
5 Lieder on poems by Stefan George op. 4: II. Noch zwingt mich treue uber dir zu wachen'
5 Lieder on poems by Stefan George op. 4: III. 'Ja heil und dank dir'
5 Lieder on poems by Stefan George op. 4: IV. 'So ich traurig bin'
5 Lieder on poems by Stefan George op. 4: V. 'Ihr tratet zu dem herde'
4 Lieder on poems by Stefan George: I. 'Erwachen aus dem tiefsten traumes-schoosse'
4 Lieder on poems by Stefan George: II. Kunfttag I: 'Dem bist du kind, dem freund'
4 Lieder on poems by Stefan George: III. Trauer I: 'So wart bis ich dies dir noch kunde'
4 Lieder on poems by Stefan George: IV. 'Das lockere saatgefilde lechzet krank'
4 Lieder op. 12: I. 'Der Tag ist vergangen' - Folksong
4 Lieder op. 12: II. Die geheimnisvolle Flote: 'An einem Abend, da die Blumen dufteten' - Li-Tai-Po
4 Lieder op. 12: III. 'Schien mir's, als ich sah die Sonne' - 'Gespenstersonate'
4 Lieder op. 12: IV. Gleich und gleich: 'Ein Blumenglockchen'
3 Songs From 'Viae inviae' by HildegardJone op. 23: I. 'Das dunkle Herz, das in sich lauscht'
3 Songs From 'Viae inviae' by HildegardJone op. 23: II. Es sturzt aus Hohen Frische'
3 Songs From 'Viae inviae' by HildegardJone op. 23: III. Herr Jesus mein'
3 Lieder on poems by Hildegard Jone op. 25: I. 'Wie bein ich froh!'
3 Lieder on poems by Hildegard Jone op. 25: II. 'Des Herzens Purpurvogel fliegt durch Nacht'
3 Lieder on poems by Hildegard Jone op. 25: III. 'Sterne, ihr silbernen Bienen der Nacht'

Tracks:

Slow Movement For String Quartet: Langsam, mit bewegtem Ausdruck
5 Movements For String Quartet: I. Heftig bewegt
5 Movements For String Quartet: II. Sehr langsam
5 Movements For String Quartet: III. Sehr bewegt
5 Movements For String Quartet: IV. Sehr langsam
5 Movements For String Quartet: V. In zarter Bewegung
String Quartet
6 Batatelles For String Quartet op. 9: I. Massig
6 Batatelles For String Quartet op. 9: II. Leicht bewegt
6 Batatelles For String Quartet op. 9: III. Ziemlich fliessend
6 Batatelles For String Quartet op. 9: IV. Sehr langsam
6 Batatelles For String Quartet op. 9: V. Ausserst langsam
6 Batatelles For String Quartet op. 9: VI. Fliessend
Rondo For String Quartet: Bewegt
Movement For String Trio op. post.: Ruhig fliessend
3 Pieces For String Quartet: I. Bewegt
3 Pieces For String Quartet: II. Langsam: Grief Always; Looking Upward; Heaven's Dew; Memory; Black Flowers; On Breast; Out Of Mother
3 Pieces For String Quartet: III. Nicht zu langsam
String Trio op. 20: I. Sehr langsam
String Trio op. 20: II. Sehr getragen und ausdrucksvoll
String Quartet op. 28: I. Massig
String Quartet op. 28: II. Gemachlich - Bewegt
String Quartet op. 28: III. Sehr fliessend

Tracks:

2 Pieces For Cello And Piano: I. Langsam
2 Pieces For Cello And Piano: II. Langsam
Movement For Piano: Lebhaft
Sonata Movement (Rondo) For Piano: (Bewegt) - Ruhig bewegt - Sehr ruhig
4 Pieces For Violin And Piano op. 7: I. Sehr langsam
4 Pieces For Violin And Piano op. 7: II. Rasch
4 Pieces For Violin And Piano op. 7: III. Sehr langsam
4 Pieces For Violin And Piano op. 7: IV. Bewegt
3 Little Pieces For Cello And Piano op. 11: I. Massige
3 Little Pieces For Cello And Piano op. 11: II. Sehr bewegt
3 Little Pieces For Cello And Piano op. 11: III. Ausserst ruhig
Cello Sonata: Sehr bewegt
Children's Piece For Piano: Lieblich
Piano Piece: Im Tempo eines Menuetts
Variations For Piano op. 27: I. Sehr massig
Variations For Piano op. 27: II. Sehr schnell
Variations For Piano op. 27: III. Ruhig fleissend

Amazon.com

Pierre Boulez's Complete Webern Edition appears just over two decades after his last traversal. Well, it's not literally complete, but does have enough early works to set the mature ones in the right context. These days, Webern is no longer seen so much as a new music guru as he is a major composer, pure and simple--his expression as concise as it is intense. Performancewise, there's a quality of musicianship here that few previous recordings have matched; familiarity with the idiom certainly plays its part, but so does Boulez's belief that what we're hearing needs to be presented with conviction. Try the Passacaglia, sensuous music that combines the soundworld of Brahms and Mahler, or the string quartet or orchestra pieces--miniatures in duration, but whole dramas of expression.

Ease of performance doesn't always make this music easy to come to grips with: the song cycles need several listenings to grasp the meaning behind the compression, while the later instrumental and choral works have a luminous austerity that looks back to Bach and beyond to Renaissance masters such as Schütz and Isaac. While much of Webern's music has long been admired, only now is it becoming possible to respond to it through the heart as well as the brain. This set, superbly packaged and comprehensively documented, marks a major step forward, and deserves investigating by anyone keen to appreciate something of the music's quiet, calm essence in an often strident, dislocated century. --Richard Whitehouse

Customer Reviews:

Thank You Boulez.......2001-10-23

If you are a fan of the "New Vienna School" (Schoenberg, Berg, Webern) or 20th century "classical" or "serious" music, this disk set is very rewarding. Beautifully recorded and packaged, and with equally good liner notes, it is a treat to strap on the headphones and listen.

I debated between buying this or Boulez's older Webern set and went with this one. There is much more music on this set because pieces without opus numbers are included. They lend a lot of insight into his "published" works. I also went with this set because it is a modern digital recording, the previous set being from the early 70's. I will often side with a classic recording when needed-performance over sound. Here, I'm happy to report, the listener gets both. Every detail is captured.

Thank you very much Pierre Boulez and DG for making this project happen. Please keep the Schoenberg and Berg disks coming. And thank you Anton Webern for continually opening my ears.

5 Star music. Some very good performances, some are aimless........2001-08-25

Webern's music demonstrates a level of craft, in which few composers ever contend. The more that I listen to the works of Webern, the more I hear that each note must be just as it is. There is nothing wasted in this music. The expression is never vague, always intense. I do admire the works of many modern composers, but few are so discerning and meticulous in their works. Webern's craft is equal with the greats of music history; Guillarme de Machaut, Carlo Gesualdo, Claudio Monteverdi, J.S. Bach, Franz Joseph Haydn, Ludwig Beethoven. He is a towering figure. The music that is played here is first rate. However, I have not yet heard performances of many of his works that bring out everything that Webern's music has to offer. For example, the Op. 27 Piano Variations are seldom done justice. All of the movements are given `circa' tempo indications, but many take the movements much slower or faster than indicated. Unfortunately, on this recording the fast movement is slow and the slow movements fast. Presumably the slower tempo in the fast movement would allow for more accurate interpretation of the frequent changes between piano and forte. The problem is that the F's typically don't fade away fast enough and drown out the P's. The other option is to make the P's a little bit more like mezzo forte's. The recording that Pollini did of the work on Deutsche Gramaphon with the Boulez 2nd Sonata manages to reconcile the dynamics with the tempo. However, what I have not heard with the work is the full impact of the affect in the work. What the Pollini performance fails in is the coldness of the interpretation. For those interested, I believe that DG is currently putting out the Pollini performance with Stravinsky's Petruska and a Prokofiev sonata at a fairly low price. This recording brings together several performances of more `high profile' ensembles than the older recording on Sony, which mostly featured performances of musicians from Juilliard. The performances are often more colorful, but I can't say that I always think they surpass their predecessors. The interpretations of the works are a little bit `hit and miss.' The ensembles that Boulez conducts tend to bring out the same sorts of things in the works that the previous ensembles did with the last `complete Webern.' This is good in places; I appreciate the more resonant quality that the recent recording equipment affords, and Boulez conducts a comparable performance of the orchestral works such as the `Symphonie.' The recording of the `Konzert' for nine instruments is good. The performances of the early expressionist works, such as the `Five Orchestral Pieces,' are powerful. Boulez is less afraid to see the human in Webern and let the shocked silences speak. Furthermore, the peaks are less harsh, allowing more of the subtle affects to become visible. Some of the performances just lack a certain power of expression that the previous `complete webern' had; a viscerally that the strength of the `Webern - Vogue' afforded them. The musicians that played the previous complete were looking at Webern as a giant, they are young and virile performances. These performances sometimes view Webern as a curiosity, a historical anachronism, the way that your grandfather will tell you a strange story, of which he himself doesn't understand the point, but he relates as a bit of curio. All in all, I wouldn't say that this set of recordings is the final word on the majority of Webern's works. Many of the performances in the previous set are just as good, but neither do those constantly surpass these performances. Both have their faults. The previous set tended to be cold and more aggressive than was necessary in places. The new set tends to wander at times, as if the performer does not understand the point. It's always difficult to sum up a complete works set for a prospective buyer. Just as in `complete works' of Bach sets that I own, the performances are not always amazing. However, the strength of the compositions often overcomes my desire for a strong performance, and I'm just glad that I have a recording of someone performing that Bach work that I want to hear. Here, similarly, the performances aren't always the best, but there is a wider range of Webern's ouvre represented and many of the performances are quite good. I suppose my counsel would be that one should consider the price of this set vs. the older sony set. The sony set is less complete, but it does include all of the really monolithic, profound Webern works. You also get a view of the younger, romantic Webern in this new set, in addition to better sound quality. Certain performances are better in each set, and so you'll get some good and some bad in either choice. For those that already have a strong taste for Webern's music, try this set. For those who are looking for a starting place, you might try the sony set. The highlights of this set are the Boulez orchestral performances. He has honed his vision for Webern since the last set and they are `worth the price.' For those further exploring Webern, those performances should be heard.

not much more to be said.......2001-08-01

... i could be extremely nit-picky, and complain about the solo piano pieces, and their performer's occasional humming, and the baffling ordering of the quartet disc, and the discrepencies in the translations of the booklet, and how the english left out any explanation of sator arepo etc..., yet the french seems to, and all the little tiny errors, in the booklet... but... these are all moot points when any of the performances are heard. it brings to light all facets of the composer, so he no longer seems ascetic and overly intellectual, just check out the highly romantic string quartet op. 28, and variations for orchestra, yes even the solo piano pieces with the humming. all in all, a very enlightening experience.

a transcendent masterpiece.......2000-07-17

The performances here are absolutely brilliant.

Nuance, detail, sensitivity.

This is not merely music, this is magic!

Five stars and a bullet.......2000-06-13

Pierre Boulez, the enfant not-very-terrible-any-more of French music, has surpassed himself. Twenty-two years ago, CBS released his Complete Works of Anton Webern, and it's remained the definitive Webern collection. Until, as they say in movie trailers, now.

This consists of the three Webern albums Boulez has recorded for DG over the past five years or so, plus everything else Webern ever wrote. It thus scores straightaway over the earlier CBS/Sony set, which was restricted to works that had opus numbers and filled three CDs. This one includes the charming early songs, the equally early "Im Sommerwind" for orchestra and a number of posthumous and otherwise non-Opus works that didn't make it onto the earlier set. Webern is a composer whose entire output takes about six hours to listen to in its entirety, and it's all here, on six CDs.

That's fine; is it any good? Well, it's digitally recorded, and if ever a composer was born for CD, it's Webern. The pianissimos are more ppp than ever, thanks to better recording techniques. Boulez himself has also unbuttoned a bit. His earlier set, recorded between 1967 and 1972, was high on austerity and, if it fell down at all, did so on emotion. The older Boulez (he's 75 this year) is more relaxed about letting tuttis blare and climaxes, well, climax. The result is both as intellectually satisfying as we've come to expect from Boulez, and warmly expressive; in general, a more moving and less didactic set of recordings than the previous lot. And all the better for it, as far as this composer (and this listener) is concerned.

There are many benefits of a digital set, not the least being the better registration of timbral variety, which Webern (as is well known) made into a compositional principle. Even those allergic to twelve-tone music can't help but be ravished by the intricate sweetness of his arrangement of the Bach six-part fugue from the "Musical Offering". The arrangement of Schubert's German Dances has been re-recorded, and can be heard now in all its sprightliness. (The CBS/Sony set has an archive recording conducted by Webern himself in the thirties, but dodgy sound quality prevented it from shining forth properly, despite Webern's witty conducting.)

Tracks:

Son in C
'Wachet Auf' Prld
Sym No.6
Sarabande
Two-Part Invention in C
Ste No.11 in d
Gymnopedia
Fur Elise
Sym No.9
Anna Magdalena
Solfeggito
Sym. No.40
Canon in C
Two-Part Invention in F
Minuet in G
Promenade
Var in C
Son No.11 in G
Prld in e
Fugue in c

Album Description

THE CLASSICAL CHILD IS BORN Classical music for newborns couldn't come more sweetly bundled than in The Classical Child is Born. This album welcomes young children to the world of classical music with a medley from the masters: Mozart, Bach, Beethoven and more. The selections represent a variety of well-recognized pieces and its arrangements make it perfect classical music for little ones. Wake up your baby with beautiful sonatas and symphonies that will have him or her cooing and moving to the rhythm.

SCHOLASTIC PRE-K TODAY "A wonderful array of amusing and captivating sounds your children will enjoy listening to again and again"

MOTHERING MAGAZINE "..Each piece is a lovely classic that you will be humming"

Customer Reviews:

It's a keeper!.......2007-05-11

This is, hands down, my 3-year-old son's favorite CD. We both have the entire thing memorized. It plays almost constantly when we are in the car, and my son sits in the back seat and hums along. He now recognizes several of the pieces and can point them out when he hears them on other albums, in movies, etc.

My reaction upon receiving this CD as a gift was similar to that of another reviewer...I inwardly groaned at the thought of classical music produced on a synthesizer (the sound is similar to that found on the popular Baby Einstein albums...Baby Bach, Baby Mozart, etc.) However, my son really seems to enjoy the simpler sound, and I have come to appreciate it as well (note that this is not true of all of the Classical Child albums...some retain the "true" sound of the original instruments).

We have several children's CDs of classical music, but this is by FAR the one that we listen to most. Highly recommended to introduce your baby/toddler/pre-schooler to the wonderful world of classical music.

The Classical Child Is Born.......2003-07-11

I received "The Classical Child is Born" as a gift for my 2nd daughter and I thought...oh great, ANOTHER classical CD for babies and to be honest, I was going to re-gift it to one of several friends who were expecting. For some reason I didn't.
My older daughter is turning 3 next week and always tells us she "doesn't want the music on" when we are in the car, whether it be ours or hers. I popped this CD in the other day and for the first time, she said "don't turn it off" and continued to tell me that she liked it and asked me questions about the music. My 3 month old absolutely HATES being in the infant carrier and having to stop at red light is sheer torture because she fusses and cries. But, the day I put in the Classical Child is Born CD, she didn't cry or fuss once while we were in the car and, yes, she was awake!
Even I enjoy this music and am on your web site specifically to order another CD, probably the Ballet series since my 3 year old will be starting ballet in the fall, and the Early to Rise as she will also be starting preschool and I can't wait to order the Xmas CD.
Thank you for making such great music for kids! I will definitely purchase and recommend this to other moms I know!
Leslie Zander

Classical music that even a teenager could love.......2000-03-02

I love this CD! My students love this CD! We often use it as background music while working as individuals or as small groups. It presents some of my favorite pieces with a whimsical flair. Even rap and heavy-metal listeners request it. (The complex polyphonic music even helps stimulate brain activity. For how much more can one teacher ask?)

Average customer rating:

The facets of the lyricism!
Divine
To be avoided
aristocratic and heartfelt schumann
aristocratic and heartfelt schumann

Schumann: Piano Works

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Schubert: The Piano Sonatas
Scriabin: Complete Piano Sonatas
Haydn:Piano Sonatas (Hob. 32, 34, 44, 49)
Brahms: Works for Solo Piano
Liszt: The Two Piano Concertos; The Piano Sonata

ASIN: B000001GFJ
Release Date: 1992-02-11

Tracks:

Papillons Op. 2, Introduction. Moderato...
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 1. Lebhaft
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 2. Innig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 3. Mit Humor (Etwas hahnbuchen)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 4. Ungeduldig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 5. Einfach
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 6. Sehr rasch (Sehr rasch und in sich hinein)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 7. Nicht schnell (Mit ausserst starker Empfindung)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 8. Frisch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 9. Lebhaft
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 10. Balladenmassig. Sehr rasch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 11. Einfach
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 12. Mit Humor
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 13. Wild und lustig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 14. Zart und singen
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 15. Frisch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 16. Mit gutem Humor
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 17. Wie aus der Ferne
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 18. Nicht schnell
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 1. Preambule. Quasi maestoso - Piu moto - Animato - Vivo - Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 2. Pierrot. Moderato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 3. Arlequin. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 4. Valso noble. Un poco maestoso
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 5. Eusebius. Adagio
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 6. Florestan. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 7. Coquette. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 8. Replique. L'istesso tempo - (Sphinxes)
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 9. Papillons. Prestissimo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 10. A.S.C.H. - S.C.H.A. (Lettres dansantes). Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 11. Chiarina. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 12. Chopin. Agitato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 13. Estrella. Con affetto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 14. Reconnaissance. Animato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 15. Pantalon et Colombine. Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 16. Valse allemande. Molto vivace
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 17. Paganini. Intermezzo. Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 18. Aveu. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 19. Promenade. Comodo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 20. Pause. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 21. Marche des (Davidsbundler) contre les Philistins. Non Allegro - Molto piu vivo - Animato - Vivo - Animato molto - Vivo - Piu stretto

Tracks:

Symphonische Etuden, Op. 13 - Thema. Andante
Symphonische Etuden, Op. 13 - Etude I. Un poco piu vivo
Symphonische Etuden, Op. 13 - Etude II.
Symphonische Etuden, Op. 13 - Etude III. Vivace
Symphonische Etuden, Op. 13 - Etude IV.
Symphonische Etuden, Op. 13 - Etude V. Vivacissimo
Symphonische Etuden, Op. 13 - Etude VI. Agitato
Symphonische Etuden, Op. 13 - Etude VII. Allegro molto
Symphonische Etuden, Op. 13 - Etude VIII. Andante
Symphonische Etuden, Op. 13 - Etude IX. Presto possibile
Symphonische Etuden, Op. 13 - Etude X. Allegro
Symphonische Etuden, Op. 13 - Etude XI. Con espressione
Symphonische Etuden, Op. 13 - Etude XII. Finale. Allegro brillante
Kinderszenen, Op. 15 - 1. Von fremden Landern und Menschen
Kinderszenen, Op. 15 - 2. Kuriose Geschichte
Kinderszenen, Op. 15 - 3. Hasche-Mann
Kinderszenen, Op. 15 - 4. Bittendes Kind
Kinderszenen, Op. 15 - 5. Gluckes genug
Kinderszenen, Op. 15 - 6. Wichtige Begebenheit
Kinderszenen, Op. 15 - 7. Traumerei
Kinderszenen, Op. 15 - 8. Am Kamin
Kinderszenen, Op. 15 - 9. Ritter vom Steckenpferd
Kinderszenen, Op. 15 - 10. Fast zu ernst
Kinderszenen, Op. 15 - 11. Furchtenmachen
Kinderszenen, Op. 15 - 12. Kind im Einschlummern
Kinderszenen, Op. 15 - 13. Der Dichter spricht
Kreisleriana, Op. 16 - Fantasien - 1. Ausserst bewegt
Kreisleriana, Op. 16 - Fantasien - 2. Sehr innig und nicht zu rasch - Intermezzo, Sehr lebhaft - Intermezzo II. Etwas bewegter - Lngsamer (erstes Tempo)
Kreisleriana, Op. 16 - Fantasien - 3. Sehr aufgeregt
Kreisleriana, Op. 16 - Fantasien - 4. Sehr langsam
Kreisleriana, Op. 16 - Fantasien - 5. Sehr lebhaft
Kreisleriana, Op. 16 - Fantasien - 6. Sehr langsam
Kreisleriana, Op. 16 - Fantasien - 7. Sehr rasch
Kreisleriana, Op. 16 - Fantasien - 8. Schnell und spielend

Tracks:

Fantasie C-dur, Op. 17 - 1. Durchaus phantastisch und leidenschaftlich vorzutragen - Im Legendenton - Tempo Primo
Fantasie C-dur, Op. 17 - 2. Massig. Durchaus energisch - Etwas langsamer - Viel bewegter
Fantasie C-dur, Op. 17 - 3. Langsam getragen. Durchweg leise zu halten - Etwas bewegter
Arabeske, Op. 18 - Leicht und zart - Minore I. Etwas langsamer - Minore II. Etwas langsamer - Zum Schluss (Coda). Langsamer
Humoreske, Op. 20 - Einfach - Sehr rasch und leicht - Noch rascher - Erstes Tempo - Wie im Anfang
Humoreske, Op. 20 - Hastig - Nach und nach immer lebhafter und starker - Wie vorher - Adagio
Humoreske, Op. 20 - Einfach und zart - Intermezzo - (Wie vorher -) Innig
Humoreske, Op. 20 - Sehr lebhaft - Mit einigem Pomp - Zum Beschluss - Allegro
Novelette No. 9 - aus: Bunte Blatter, Op. 99 - Lebhaft

Tracks:

Sonate Nr. 2 g-moll Op. 22 - 1. So rasch wie moglich
Sonate Nr. 2 g-moll Op. 22 - 2. Andantino. Getragen
Sonate Nr. 2 g-moll Op. 22 - 3. Scherzo. Sehr rasch und markiert - attacca:
Sonate Nr. 2 g-moll Op. 22 - 4. Rondo. Presto - Prestissimo. Quasi Cadenza
Nachtstucke, Op. 23 - 1. Mehr langsam, oft zuruckhaltend
Nachtstucke, Op. 23 - 2. Markiert und lebhaft
Nachtstucke, Op. 23 - 3. Mit grosser Lebhaftigkeit
Nachtstucke, Op. 23 - 4. Ad libitum - Einfach
Drei Romanzen, Op. 28 - 1. Sehr markiert
Drei Romanzen, Op. 28 - 2. Einfach
Drei Romanzen, Op. 28 - 3. Sehr markiert - Intermezzo I. Presto - Intermezzo II. Etwas langsamer - Wie vorherPresto - Inter
Waldszenen, Op. 82 - Neun Klavierstucke - 1. Eintritt. Nicht zu schnell
Waldszenen, Op. 82 - Neun Klavierstucke - 2. Jager auf der Lauer. Hochst lebhaft
Waldszenen, Op. 82 - Neun Klavierstucke - 3. Einsame Blumen. Einfach
Waldszenen, Op. 82 - Neun Klavierstucke - 4. Verrufene Stelle. Ziemlich langsam
Waldszenen, Op. 82 - Neun Klavierstucke - 5. Freundliche Landschaft. Schnell
Waldszenen, Op. 82 - Neun Klavierstucke - 6. Herberge. Massig
Waldszenen, Op. 82 - Neun Klavierstucke - 7. Vogel als Prophet. Langsam, sehr zart
Waldszenen, Op. 82 - Neun Klavierstucke - 8. Jagdlied. Rasch, kraftig
Waldszenen, Op. 82 - Neun Klavierstucke - 9. Abschied. Nicht zu schnell

Customer Reviews:

The facets of the lyricism!.......2006-05-30

Wilhelm Kempff made sing the piano as any other pianist ever born. But besides, his profound domain of the thematic material as well as his tune produced a Schumann so original, expressive and eloquent with sentiment but no sentimentality.

This album is a formidable and fundamental set of the most remarkable Schumann piano works. To create such atmosphere and interpretative freshness in this composer is not easy, but in Kempff hands we are talking about another dimension of pianism.

In this age, pitifully, you cannot count with many thinkers pianists; ones due the very adjusted schedule and the rest by unknown reasons seem to consider a matter of second priority to play with a determined conception. The technique seems to prevail under any other aspect. And that's not a good symptom.

That is why among other arguments you should acquire as soon as possible this extraordinary set.

Absorbing and rewarding in summon grade.

Divine.......2005-07-18

When I first read the reviews here on Amazon, I was a bit concerned about buying this set. I truely love Kempff and elegant performing style, but after having almost around 150 of his collections and cd's, I know that he can be dreadful when he is not on form. So I was worried about this set, but it was useless.

This 4-cd set contains some of the best performances that Kempff could offer considering his age. There are numerous highlights here: Papillons, Davidsbündlertänze, fantasy,..... All of them find him on top form. Although one might argue that there are studio recordings and who knows how many takes one recording must have to become perfect, but let me tell you, even in his live and extremely nerve breaking situations and venues such as the Salzburg festival, he was always on top form.

So Kempff's fan, buy this. It's worth it. In here you won't quite find the excitement that Richter put into his Schumann, but you will find the poetry, emotions and sensitivity that many others lack in their recordings.

To be avoided.......2003-11-22

Despite his reputation as one of the towering exponents of the 19th Germanic repetoire, Kempff acquits himself poorly in these recordings, made at the end of his life. Whether these weak performances are due to his advanced age or to more basic flaws in his training and capabilities is purely academic. They are among the poorest choices in the catalogue, perhaps the very worst. But please - don't take my word for it. Listen to the Etde IX in the op. 13, on disc 2. Kempff's attempt to pull this off is embarrassingly amateurish; he cannot even cover all the notes at "presto possibile", much less raise his playing to something approaching an interpretation. Elsewhere, you can expect the same. The op. 17 is played with little poetry, no finesse and palpable frustration in following Schumann's basic roadmap. You cannot run away from this mess fast enough.

aristocratic and heartfelt schumann.......2003-08-28

this compilation has the benefit of including most of schumann's important keyboard works (among excluded works are the toccata, first sonata, bunte blatter and fantasiestucke), under the hands of an extraordinary schumann interpreter.

recorded in the 1970's, when kempff was nearing 80, this is genuinely classic schumann. the virtuosic extremes of the symphonische etuden and kriesleriana are not quite fully exploited, but there is no flubbing, stumbling or cutting corners: kempff has things always under control. look to argerich, pollini or pogorelich for white hot schumann, kempff delivers him as a human being.

for the sheer poetry of schumann, kempff has never been bettered. his davidsbundlertanze, especially the last 5 movements, is without peer. the kinderszenen is delightful. the poetry of the fantasie in C is magnificent. there is a lifetime of musical experience and temperament in this playing.

aristocratic and heartfelt schumann.......2003-08-28

Customer Reviews:

A waltz lovers delight:.......2007-02-11

If you love to listen to Viennese waltz music, you'll find this 12 disc set a wonderful experience. Highly recommended.

Average customer rating:

PIECES FROM THE NOTEBOOK OF ANNA MAGDALENA BACH...
To be listened to again and again
Wonderful portraits of Bach, the timeless genius.

The Biggs Bach Book

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Musettes | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | 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

General | Jazz | Styles | Music

General | New Age | Styles | Music

Solo Instrumental | New Age | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Bach: The Four Great Toccatas & Fugues
Works for Organ - Essential Classics
Super Hits: Scott Joplin
Bach: Four Great Toccatas & Fugues
Bach: Great Organ Works

ASIN: B0000024X5
Release Date: 1990-10-25

Tracks:

March In D Major, Anh. 122
Polonaise In G Minor, Anh. 119
Menuett In G Major, Anh. 114
Menuett In G Minor, Anh. 115
Menuett In G Major, Anh. 116
Musette In D Major, Anh. 126
Polonaise In G Minor, Anh. 125
Menuett In D Minor, Anh. 132
Polonaise In G Major, Anh. 130
Menuet fait par Mons. B hm
March In G Major, Anh. 124
Aria: Be Thou But Near - BWV 508
Chorale: How Content Am I - BWV 517
Chorale: Deal With Me, Lord, As Thou Will - BWV 514
Suite In A Major: Gigue In A Major, BWV 824
Cantata No. 79: Now Thank We All Our God
Chorale: Now Thank We All Our God
Birthday Cantata No. 208: Aria: Sheep May Safely Graze
Chorale Prelude For Organ: Sleepers, Awake!
Cantata No. 140: Chorale: Glory Now To Thee Be Given
Cantata No. 156: Sinfonia (Ariso) - Adagio
Chorale Prelude For Organ: A Mighty Fortress Is Our God
Chorale: A Mighty Fortress Is Our God
Cantata No. 147: Jesu, Joy Of Man's Desiring

Customer Reviews:

PIECES FROM THE NOTEBOOK OF ANNA MAGDALENA BACH..........2006-01-16

These are classic recordings from the 1970s. At that time, Biggs--along with Glenn Gould--was really on the cutting edge of the vanguard of Bach interpreters. The highlights of this fine disc are the charming realizations of the little gems from the Anna Magdalena Notebook.

To be listened to again and again.......2002-03-15

This was my first classical album which, years later, I purchased again when it was available on CD. Many of the pieces will be familiar to those who love traditional church music, but of course, Biggs is not a regular church organist. The pieces are so precisely planned and presented that they have both an addictive quality and a beautiful simplicity.

The chorale prelude on "A Mighty Fortress" does not work well on just any organ (it requires a 16' reed on one manual) but it is wonderful here. Even the simple selections from the Anna Magdalena Bach book are exciting on this CD.

Wonderful portraits of Bach, the timeless genius........2000-05-24

E. Power Biggs is the only recorded organist with which I am familiar, but I have thoroughly enjoyed his interpretations of Bach.

His version of the Anna Magdalena notebook is delightful, and the chorales are performed in such a way that they are both sonically powerful and emotionally moving. The "Sheep may safely graze" is deep, yet charming.

Finally, what a beautiful piece is found in "Jesu, Joy of Man's Desiring," which closes this disc. It is played simply, but it always manages to be profound as well.

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