Die Geschenkte Stunde [Import]

1. Die Geschenkte Stunde [Instrumental]

2. Ganz Oben

3. Augenblicke

4. Unter Dem Wind

5. Silvia

6. Lucifer

7. Jedermann

8. Wie Die Sterne Fallen

9. Wind und Feuer

10. Geburtstagslied

11. Nimm Mich Mit

12. Der Achte Tag

13. Sieben Leben

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating:

TRUE SHOCK COMEDY
Bracing, Vulgar and Unflinchingly Honest
Cerebral, Vulgar, and Funny
a new dimension in the comedy of Stanhope
Hilarious, brutal comedy by a modern stand-up master.

Die Laughing
Doug Stanhope
Manufacturer: Stand Up Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Miscellaneous | Styles | Music

General | Comedy | Miscellaneous | Styles | Music

General | Alternative Rock | Indie Music | Stores | Music

Rock | Alternative Rock | Indie Music | Stores | Music
Similar Items:

Something to Take the Edge Off
Sicko
Deadbeat Hero
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I'm Gonna Be Dead Someday...

ASIN: B00006LS9Z
Release Date: 2002-08-20

Tracks:

Stillborn Liver
DUI/MADD
Drugs Are For Kids
Second Hand Bullshit
Hair In My Food
Get Off The Field, You Suck!
School Shootings
Cowards
Ants
Wisdom
President Doug
Fuck You God
Try Sodomy!
Pro Abortion
Lucky In Love
Stuff I Should Have Edited Out But Didnt
Eeewwww!
The Upside Of Sexual Abuse
To Tell You The Truth
Potty Mouth
The Beautiful People

Album Description

Stanhope strikes back is nearly the best way we can put it. Die Laughing fearlessly follows in the steps of Lenny Bruce and Bill Hicks in eviscerating the stagnant American mindset. From our president to MADD to a radical pro-abortion views, Doug makes you think where you stand on a variety of today's hot topics. You will be shocked, you will be astounded, you will laugh yer goddamned head off.

Customer Reviews:

TRUE SHOCK COMEDY.......2006-05-05

this guy is one of the funniest muthafackers ive ever heard. and hes so brutally honest. he has the weirdest point of view of things. many people cant handle this. like he always says "i feel like im leading you guys into battle, you wont all be here in the end" if you dont mind vulgar crazy comedy. then check this guy out. youll love him, i know i did, he can always make me laugh.

Bracing, Vulgar and Unflinchingly Honest.......2006-05-01

Comedian Doug Stanhope is truly an antidote for the inoffensive blandness of many mainstream standup comedians. Hard to believe this is the same guy who hosted "The Man Show" and "Girls Gone Wild." There's no vacuous, fratboy humor here. In fact, one of the edgiest (and funniest) bits is a pro-school shootings rant in which Stanhope confesses his secret high school desire to "kill all the jocks." It is true that Stanhope's raunchy sex jokes are a big part of his appeal, but his consistent stance on behalf of the little guy (and girl) completely separates him from the dimwitted Andrew Dice Clays of the world.

All that said, "Die Laughing" is probably the best of Stanhope's CD recordings (along with "Something to Take the Edge Off"). If you're looking for a place to get acquainted with his extreme verve, this would be the place to start.

Cerebral, Vulgar, and Funny.......2006-03-15

Doug Stanhope puts out a consistently off beat style of comedy. The set featured on this album lives up to the standards of his previous efforts. Doug Stanhope is a different kind of funny, kind of like watching someone beat the hell out of a Mime. His Humor is not as deep as a guy like Dennis Miller, but requires more thought than a guy like Chris Rock. I think anyone who enjoys Lewis Black, Joe Rogan, or any of Doug's previous albums will get a laugh out of this CD. If you're easily offened this CD probably isn't for you, if you have a good sense of humor and can laugh at something because it is a joke, this album is a decent buy.

a new dimension in the comedy of Stanhope.......2003-02-16

Die laughing is the almost complete transformation of Stanhope from a autobiographical comic ("Sicko" is basically just all stories from his life) to one as a social critquer of our society. I personally believe Stanhope is at his best when he's doing an almost even mix of the two, as "A little something to take the edge off" was. This cd leaves the listener feeling angry at the end, which is how Doug probably intended for it to turn out, almost like talk radio does. That is not to say this cd is not funny, Stanhope on his worst day could blow the socks off of any other living comic (maybe even Hicks?) and this cd delivers many of those laugh at loud outrageous off the cuff comments you've come to expect of Stanhope. Just the theme is a little too dark. If you have Stanhope's other cds and are very familiar with him then buy this one immediately. If you are a beginner I would recommend "Something to take the edge off" first, then "Sicko" and then this cd. It's not for people who are just beginning to study the brilliance and art of Stanhope's work. (Believe me, it is truly brilliant and it is art)

Hilarious, brutal comedy by a modern stand-up master........2002-11-14

For those of you haven't heard of him, Doug Stanhope is one of the most talented and outrageous comedians working stand-up today. A gifted storyteller and writer, Stanhope mines his prodigious libido and colorful life as sources for his comedy. Less autobiographical than his earlier "Sicko" (I haven't listened to his other albums), the appropriately titled "Die Laughing" finds Stanhope injecting a dose of brutal nihilism into his raunchy material. I laughed, and I laughed hard, but I certainly wasn't in a happy mood after hearing the material on this album. Stanhope is often compared to the late, great Bill Hicks, and that is in some ways an apt comparison. Both men were enemies of the forces of hypocrisy and reaction, clever satirists of the human condition, and razor-sharp storytellers and comedians. Hicks' comedy, however, though often dark and aggressive, was leavened by his belief in human evolutionary potential. By contrast, Stanhope's material is far darker, for he evinces no faith in anything beyond sex, death, and human stupidity. Hearing this album, I could almost picture Stanhope killing himself on stage as a final punch line. This isn't meant as a criticism of Stanhope's material, since its not for me to sentimentalize the purity of his vision or his role as an artist. . . Anyway, don't let the way-too pretentious blather in this review stop you from buying this album. Stanhope is a comic treasure.

Average customer rating:

An interesting recording with rare repertoire: Lieder with orchestra
Not a mere experiment.
lieder, not as it was mean to be...
An Intresting But Unsatisfying Experiment
A miracle indeed!

Schubert: Lieder with Orchestra

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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ASIN: B00008MLUR
Release Date: 2003-04-08

Tracks:

Romanze, D 797 No.3b - Anne Sofie Von Otter
Die Forelle, D 550 - Anne Sofie Von Otter
Ellens Zweiter Gesang, D 838 - Anne Sofie Von Otter
Gretchen Am Spinnrade, D118 - Anne Sofie Von Otter
An Silvia, D 891 - Anne Sofie Von Otter
Im Abendrot, D 799 - Anne Sofie Von Otter
Nacht Un Traume, D 827 - Anne Sofie Von Otter
Gruppe Aus Dem Tartarus, D 583 - Anne Sofie Von Otter
Erlkonig, D 328 - Anne Sofie Von Otter
Die Junge Nonne, D 828 - Anne Sofie Von Otter
Tranenregen, D 795 No.10 - Thomas Quasthoff
Der Wegweiser, D 911 No.20 - Thomas Quasthoff
Du Bist Die Ruh, D 776 - Thomas Quasthoff
Ihr Bild, D 957 No.9 - Thomas Quasthoff
Prometheus, D 674 - Thomas Quasthoff
Memnon, D 541 - Thomas Quasthoff
An Schwager Kronos, D 369 - Thomas Quasthoff
An Die Musik, D 547 - Thomas Quasthoff
Erlkonig, D 328 - Thomas Quasthoff
Geheimes, D 719 - Anne Sofie Von Otter
Standchen, D 957 No.4 - Thomas Quasthoff

Customer Reviews:

An interesting recording with rare repertoire: Lieder with orchestra.......2005-11-12

This is an excellent recording, and it is interesting with rare repertoire: Schubert lieder with orchestra instead of the usual piano part. There are lieder here sung by Anne Sofie von Otter (about 1/2 the program) and Thomas Quasthoff (the 2nd 1/2) with Claudio Abbado/Chamber Orchestra of Europe. Among the songs are orchestrations by Brahms, Reger, Britten, and other famous composers.

The orchestrations stand up very well, and highlight the text and vocal line of the music, as a good pianist would. Abbado is excellent here: responsive to every nuance and dynamic shading of the singer he is accompanying. These are live recordings from a Paris concert, but the audience is so quiet, I never hear them.

This was one of my favorite recordings in 2003, and still is today. I especially like "An Schwager Kronos" and "Erlking" in orchestral form. And, if you're not sure about Abbado's Schubert: his DG cycle of the Schubert Symphonies has not been well received in AMERICAN RECORD GUIDE and other publications, but have no fear in this release. Abbado is top notch here, and conducts with sensitivity and grace. Highest recommendation!

Not a mere experiment........2004-03-23

This recording isn't a mere experiment. It's the result of a very profound research. The first track is the beginning of this fascinating path: One orchestral lied by Schubert himself. And after this Lied from the "Rosamunde" the discoveries : Schubert orchestrated by Britten , Brahms , Reger, Berlioz, Liszt, Webern and Offenbach. The most interesting orchestrations are undoubtedly : Ellens Zweiter Gesang , that Brahms scored for Four Horns and Three bassoons, Erlkönig , that Berlioz transformed in a symphonic storm, and the four delicates orchestrations conceived by the 20 years old Anton Webern .
Not only the research is fascinating. The realization is also outstanding. Anne Sophie von Otter , one of the most important Lieder singer in the world. Her recordings of Strauss, Grieg, Berg, Brahms and Schubert with the excellent pianist Bengt Forsberg are among the most interesting lieder recording of the last 20 years .She sings these orchestral versions with the same sense of intimacy of a original (piano) version , with some interesting "orchestral" affinities in her emission, specially in Die Junge Nonne ( orchestrated by Liszt) and in Die Forelle ( orchestrated by Britten). Thomas Quasthoff has a more Symphonic approach . But he is capable of wonderful intimate sonorities in the four Webern Orchestrations. The Chamber Orchestra of Europe conducted by Claudio Abbado are more than mere support for the voices. The intelligence of the conductor lead this fascinating research to a very high level of intensity , always with a flawless sense of musicality.

lieder, not as it was mean to be..........2003-12-19

Von Otter and Quasthoff are two of my favorite singers, and there is nothing to fault with their singing here. But the idea of taking lieder - songs that were meant for the parlor, for the intimate gathering, and to orchestrate them - I don't think it works. The songs lose some of their character, and become as it were, different music. An interesting experiment, but I'll take the piano..

An Intresting But Unsatisfying Experiment.......2003-05-13

I bought this CD because it was different. Having had recordings of Janet Baker singing most of these songs with Gerald Moore on piano, I thought an orchestrated version of these songs would seem novel. But after repeated listenings, I decided to sell it off to the used CD store.

Why? It's because I believe the orchestrations are bland and repetitive. Listening to this CD gave me insight into Schubert's lieder: these songs, I have come to realize, are INTIMATE interactions between singer and pianist. To expand them orchestrally, without structural revisions to the melody and the accompaniment, declares to the listener how truly petite Schubert's song material is.

The annotations on the CD mention that the lieder were orchestrated in the late 19th-early 20th century to meet the (then current) demand for orchestral songs (the form made popular by composers ranging from Brahms, to R. Strauss). That explains the existence of the orchestrations. But, in adapting Schubert's work, the orchestators (Brahms, Reger, Britten et al.) have very little material to colorate and expand. In the end, the results often sound, well...small and unconvincing. Even unsatisfying and unnecessary IMHO.

For ratings, I give this recording three stars for the musicians' performance and for Schubert's gift of melody and accompaniment. Take two stars off for the weak orchestrations and for the decision to record them.

Here's a thought: what if you reworked the songs themselves, enlarging them and entrusting them to the likes of John Harbison, John Adams, or even John Berry (or Hermann, Copland or Stravinsky, four--or Berlioz, Busoni, or Ravel, five--generations ago)? Now there's a novel thought...!

A miracle indeed!.......2003-05-10

At last a serious vocal project with orchestra from DG! I can't find enough praise. These Schubert songs orchestrated by various composers are not easy to come by and it was a stroke of genius to put them together on one disc and have them sung by two great Lieder singers. I only knew Berlioz's orchestration of the Erlkoenig (sung in French by Charles Panzera), here we get two: Berlioz's (sung by von Otter) and Reger's (sung by Quasthoff). All the orchestrations are little gems and it would be hard to single out the "greatest hits". I was quite impressed with Liszt's orchestration of "Die junge Nonne" which sounded to me very Berliozian (maybe even more than Berlioz's Erlkoenig).
Throughout the disc, von Otter sings with decidedly more operatic tone (often extremely dramatic) than Quasthoff. I won't pretend that I know what style is more appropriate for singing Lieder with orchestra but both von Otter's operatic approach and Quasthoff's more subdued one work very well here. Abbado's conducting must not be overlooked - it is beautifully nuanced and adds to the pleasure of listening to these miniatures.

Tracks:

Dear, If You Change
All Ye, Whom Love Or Fortune
Whoever Thinks Or Hopes Of Love
Can She Excuse My Wrongs?
Sorrow, Stay
A Shepherd In A Shade
Sovran Uccello Se'Fra Tutti Gli Altri
De Tous Bien Plaine
Amors Amors
Filles A Marier
Aura Soave
Amarilli, Mia Bella
Belle Rose Porporine
Stand Auff Maredel! Liebes Gredel
Der Mai Mit Lieber Zal
Ach, Senleiches Leiden
Du, Auserweltes Schons Mein Herz
Wer Die Augen Wil Verschuren
Froleich Geschrai So Well Wir Machen

Album Description

Released for the first time ever, this concert recording of Jan DeGaetani showcases the legendary mezzo's work in the felid of early music- recorded in 1977, and the peak of her powers. It is a little known fact the DeGaetani's career started as a performer of early music, so that this disc is a revelatory addition to her discography. The spectacular flexibility and purity of intonation that DeGaetani brought to so many contemporary scores serve her beautifully in this well-recorded document. Accompanied by the great lutenist Paul O'Dette, as well as viola da gamba player Judith Davidoff and a shawm player Philip West, this recital ranges from the Medieval music through the Renaissance, and includes music by John Dowland, Donato de Cascia, Hayne van Ghizeghem, Giulio Caccini, and Oswald von Wolkenstein.

Bach: Matthus-Passion / Wilhelm Furtwngler (Mono 1954 recording)

Average customer rating:

Depth and Tragedy
Bring back the passion
For personal reasons...

Bach: Matthus-Passion / Wilhelm Furtwngler (Mono 1954 recording)

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore
Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO
Recordings 1942-1944, Vol. 2
Brahms: Symphonies, Hungarian Dances, Haydn Variations; Beethoven: Overtures / Furtwangler, Berlin PO, Vienna PO
Schumann: Sinfonie Nr. 4

ASIN: B000002S68
Release Date: 2001-03-06

Tracks:

Kommt, Ihr Tochter - Choral: O Lamm Gottes Unschuldig
Da Jesus Diese Rede Vollendet hatte
Herzliebster Jesu
Da Versammelten Sich Die Hohenpriester
Ja Nicht Auf Das Fest
Da Nun Jesus War Zu Bethanien
Wozu Dienet Diesir Unrat?
Da Das Jesus Merkete, Sprach Er Zu Ihnen
Du Lieber Heiland Du
Buss' und Reu
Da Ging Hin Der Zwolfen Einer
Blute Nur, Du Liebes Herz!
Aber Am Ersten Tage
Wo Willst Du
Er Sprach: Gehet Hin In Die Stadt
Ich Bin's, Ich Sollte Bussen
Er Antwortete Und Sprach: Der Mit Der Hand
Wiewohl Mein Herz In Tranen Schwimmt
Und Da Sie Den Lobgesang Gesprochen Hatten
Erkenne Mich, Mein Huter
Petrus Aber Antwoetete Und Sprach Zu Ihm
Da Kam Jesus
O Schmerz!/Was Ist Die Ursach
Ich Will Bei Meinem Jesu Wachen/Mit Chor: So Schlafen Unsere Sunden Ein
Und Ging Hin Ein Wenig
Der Heiland Fallt
Und Er Kam Zu Seinen Jungern
Was Mein Gott Will
Da Kam Er Zu Seinen Jungern
So Ist Mein Jesus Nun Gefangen/Mit Chor: Lasst Ihn, Haltet, Bindet Nicht!
Zu Der Stund' Sprach Jesus Zu Den Scharen
O Mensch, Bewein Dein Sunde Gross

Tracks:

Ach, Nun Ist Mein Jesus Hin!/Mit Chor: Wo Ist Denn Dein Freund Hingegangen?
Die Aber Jesum Gegriffen Hatten
Unk Der Hoheprester Stand Auf Und Sprach Zu Ihm
Und Der Hohepriester Antwortete
Da Speieten Die
Wer Hat Dich So Geschlagen
Petrus Aber Sass Draussen Im Palast
Da Hub Er An, Sich Zu Verfluchen
Erbarme Dich, Mein Gott
Jesus Aber Stand Vor Dem Landpfleger
Befiehl Du Deine Wege
Auf Das Fest Aber Hatte
Der Landpfleger Sagte
Er Hat Uns Allen Wohlgetan
Aus Liebe Will Mein Heiland Sterben
Sie Schrieen Aber Noch Mehr
Erbarm' Es Gott!
Da Nahmen Die Kriegsknechte Des Landpflegers
O Haupt Voll Blut Und Wunden
Und Da Sie Ihn Verspottet Hatten
Und Da Wurden Zween Morder Mit Ihm Gekreuziget
Desgleichen Schmaheten Ihn Auch Die Morder
Ach, Golgatha
Und Von Der Sechsten Stunde
Wenn Ich Einmal Soll Scheiden
Und Siehe Da, Der Vorhang Im Tempel Zerriss In Zwei Stuck
Am Abend, Da Es Kuhle War
Und Joseph Nahm Den Leib
Nun Ist Der Herr Zur Ruh' Gebracht
Wir Setzen Uns Mit Tranen Nieder

Customer Reviews:

Depth and Tragedy.......2005-04-15

This recording embodies everything I love about Furtwangler's artistry with great clarity. If I had to pick two words to describe it, I would choose honesty and strength. Furtwangler's interpretation of the St. Matthew Passion (a work he dearly loved ever since his childhood) is nothing if not honest. He doesn't stop at rendering the score with beauty and pathos (as, for example, Karajan does), he dwells on each and every word of the Passion story, expressing them with incredible power. Furtwangler leaves nothing to chance: it is clear that over the decades he thought deeply over even the smallest details. This is another thing I love about his artistry: he was never satisfied with just achieving moments of inspiration, he demanded from himself that every moment have integral significance within the whole. The sense of architecture here is overpowering; for example, after the chorale wenn ich einmal so scheiden (delivered with a radiance that has to be heard to be believed) comes a moment that has to stand as one of the greatest in recorded music, when the chorus says "truly, he was the Son of God". The expression achieved cannot be put into words, it has such a powerful effect.
Even if the execution and the recording were poor, this would be worth buying for Furtwangler's visionary way with the score; thankfully though, both are on the whole excellent. The only minor quibbles one could have might be the audience noise (noticeable, but not overwhelming) and some of the vocalists (I have never been a great fan of Hoffgen (she seems so wobbly to me), and sometimes the choir is a little on the hazy side). Other than these truly minor points, the only situation I could imagine a person not liking this performance is if they had certain preconceived notions about what Bach is supposed to sound like, rather than taking this on its own terms. However, I feel that the greatness of a performance should stand on its own, and not rely on anything else (for example, on historical research). I would venture to say Furtwangler's recording of the St. Matthew Passion amply meets this requirement.

Bring back the passion.......2005-03-12

Oh, my God. Literally. If you are wondering what happened to the passion of Bach's Passions, try this recording. The opening chorus, which Klemperer treats with such magisterial beauty, here will rip you to shreds. The orchestral phrasing, perhaps especially in the woodwinds, is stunning throughout and seems to want to walk right out of the CD and embrace the listener with sorrow and grace. As a bonus, the sound quality is quite a bit better than on the Maestro's other recordings.

For personal reasons..........2004-05-15

.... I give this 5 stars. If you are primarily interested in period performance Bach, this is not for you. If you are interested in modern instrument Bach with reduced forces and a strong sense of baroque style (Woldike, Richter), this is also not for you.

This is in the romantic tradition of the 19th century, and it is not a complete performance -- there are cuts -- but I think it must approach what Mendelsohn offered his audience when he performed this work, and launched a Bach revival that continues to this day. (There is, in fact, a modern recording of the version used by Mendlesohn, but I have yet to hear it.)

This is a broadly paced, reverential performance, beautifully performed. It is not in the hyper-inflated style of Beecham's MESSIAH out of Berlioz, but one does sense that Bruckner would have approved of this performance: sehr feierlich.

Tracks:

Welcoming Remarks
La Traviata: Sempre Libera
Puccini Intro
La Boheme: Sim Mi Chiamano Mimi
Dress Code
Carmen: Seguidilla
Women As Victims
Die Tote Stadt Plat
Die Tote Stadt: Marietta's Lied
Tosca...Accidents Will Happen
Tosca: Vissi D'arte
The Cosi Fan Tutte Story
Cosi Fan Tutte: Come Scoglio
Rusalka: Rusalka's Song To The Moon
Rusalka Plot Into La Perle Du Bresil
La Perle Du Bresil: Charmant Oiseau
Ernani Plot Intro
Ernani: Ernani Involami
Closing Remarks
Encore: La Rondine: Chi Il Bel Sogno Di Doretta

Customer Reviews:

You Will Laugh Your Head Off .......2005-05-16

One line is all I need to quote: B.J. Ward sings Rusalka's Song to the Moon, and calls Dvorak's Rusalka "Disney's Little Mermaid with a Quentin Tarantino ending" !!!

Opera As Fun Entertainment: Comedian Soprano B.J.Ward.......2005-05-16

Who would have thought opera could be so much fun and make for great comedy ? B.J. Ward is herself a gifted and unique soprano, even if she is not among the ranks of today's most famous. She first heard Licia Albanese sing La Rondine and was hooked on opera ever after. In this recording, taped live at an Embassador's building in New York City, B.J. Ward treats the audience to hilariou stand-up comedy while at the same time singing arias from some of the great, mainstream operas. Hopefully, this will attract the younger folk into opera, for if you can appreciate great comedy styling, surely you can appreciate opera, the best musical and theatrical art form. The cover on the album is also quite catchy. I enjoyed this album a lot. I'm a fan of B.J. Ward, who is to opera what the parodist composer C.P.Q. Bach is to classical music. Other recordings of Miss Ward include Larynx, the Song Bird (I think thats what its called) and Queen of the Night, these are compilation albums of arias sung by the incomparable B.J. Ward. She may not be Renee Fleming, she is surely not Maria Callas, but she is an artist in her own right, with a beautiful voice that is full of her own love for opera. I think she is the closest singer and personality to the personage of Beverly Sills.

Prior to each aria in this album is a bit of stand-up comedy introducing the piece, explaining the scene and plot of the opera. The operas included here are all the big names- Verdi's La Traviata, Puccini's La Boheme ( "both women die of tubercolosis" says B.J. Ward, "only Mimi in Boheme is not as well-dressed ") She has knowledge of opera history, she hates how women are victims in opera, always dying out of love, being screwed over by men (the composers of these operas were sexist men she says but its not like that today). Her wit and humor are very 90's, like a female Jerry Seinfeld, and the arias are exquisite. She sings Vissi D'Arte from Tosca, Como Scoglio from Cosi Fan Tutte, Fiordiligi's difficult showpiece- and she succeeds in singing the whole thing- The Seguidilla from Carmen, in rich mezzo voice, Sempre Libera from Traviata, another coloratura razzle-dazzle piece, with extraordinary strength and acrobatic skill. She sings a rarity, too - "Ernani, Involami" from the early Verdi opera Ernani. She concludes with a tribute to her idol soprano, Licia Albanese in a fine rendition of "Doretta's Dream" aria- Chi Il Bel Sogno Di Doretta. Don't hesitate to buy this album today and enjoy the comedy and operatic stylings of the one and only B.J.Ward...she's a one woman opera in itself.

Opera you can live with...........2002-01-15

B.J. Ward has taken perhaps the most dreaded musical genre and made it not only highly enjoyable but very funny as well...this tour de force of perhaps the greatest female solos written for the operatic stage delivered in the true operatic styling coupled with Ward's pointed wit not only the music and a few arcane (and laughable) plot points combined with a history of opera and age in which it was written makes Stand Up Opera a pleasure...I'm hoping for a sequel

Marvelous.......2001-09-24

funny; makes me wish I had been at the concert

you'll laugh you'll cry.......2001-04-03

This is a thoroughly engaging CD. I laughed, I cried...it was shorter than "Cats" She makes many witty observations about opera, but she still shows a great respect for the art form. If you like opera or you want to get to know it better, then I highly recommend this CD to you.

Bach: Cantata No. 82 "Ich habe genug"; Brahms: Vier ernste Gesänge; 12 Lieder

Average customer rating:

Timeless Disc
Not "greatest ever"- yet top-notch--due to Accompanist
the greatest cantata recording ever

Bach: Cantata No. 82 "Ich habe genug"; Brahms: Vier ernste Gesänge; 12 Lieder

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Strauss: Four Last Songs/12 Orchestral Songs
Schubert: Schwanengesang
Mussorgsky: The Nursery: Sunless; Songs and Dances of Death
Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch
Schumann: Dichterliebe / Wunderlich, Giesen

ASIN: B0001HAHIW
Release Date: 2004-03-23

Tracks:

I: Aria: Ich Habe Genug - Hans Hotter
II: Recitative: Ich Habe Genug! - Hans Hotter
III: Aria: Schlummert Ein - Hans Hotter
IV: Recitative: Mein Gott! Wann Kommt Das Schone: Nun! - Hans Hotter
V: Aria: Ich Freue Mich Auf Meinen Tod - Hans Hotter
I: Denn Es Gehet Dem Menschen
II: Ich Wandte Mich Um Und Sahe An Alle
III: O Tod, Wie Bitter Bist Du
IV: Wenn Ich Mit Menschen
Feldeinsamkeit Op.86 No.2
Wie Melodien Zieht Es Mir Op.105 No.1
Sonntag Op.47 No.3
Minnelied Op.71 No.5
Wir Wandelten Op.96 No.2
Wie Bist Du, Meine Konigin Op.32 No.9
Sapphische Ode Op.94 No.4
Botschaft Op.47 No.1
Standchen Op.106 No.1
Heimweh II (O Wusst' Ich Doch Den Weg Zuruck) Op.63 No.8
Auf Dem Kirchhofe Op.105 No.4
Verrat Op.105 No.5

Customer Reviews:

Timeless Disc.......2007-05-29

Hotter's rich, burnished baritone effortlessly navigates Bach's Cantata "Ich habe genug" (and yes, Fischer-Dieskau's version with Richter and the Munich Bach Orchestra is an equally gorgeous five star effort) and a generous program of Brahms lieder with the incomparable accompanist Gerald Moore. As far as I can tell lieder singing doesn't get any better--Hotter captures all the depth, melancholy and poignance of Brahms, never exaggerating or oversinging. The mono sonics of the Bach are a little grainy, but the Brahms, recorded later, is a remarkable testament to the mature mono sound EMI engineers worked magic with.....

Not "greatest ever"- yet top-notch--due to Accompanist.......2007-03-09

Altho I cannot agree mit the first review,it is surely a top-notch recording of "Ich Habe genug" and Brahms Lieder! The Robert Shaw recording of Mack Harrell and early Shaw Chorale in my Book, is the Greatest! Although there are differences of accompaniment and other works included, I have lived with the Shaw recording since the late 1950's ++ used it to learn Mack Harrell & Sir Robert's "Art of Phrasing. What else can be said of the teacher's value of both Scores. Retired Chaplain Fred W Hood

the greatest cantata recording ever.......2006-08-19

no sense rambling on, since words fail completely anyway. trust me.

Average customer rating:

Fantastic!!!!!!

Sweet Seraphic Fire

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Indie Music | Stores | Music
Similar Items:

Early American Choral Music, Vol. 1
Early American Choral Music, Vol. 2
The Norumbega Harmony: Historic and Contemporary Hymn Tunes and Anthems from the New England Singing School Tradition (American Made Music Series)

ASIN: B000AA4L8W
Release Date: 2005-08-02

Tracks:

New Canaan (Oliver Holden, 1793)
Maryland (William Billings, 1778)
Bethlehem (William Billings, 1778)
Lynn (Oliver Holden, 1793)
Funeral Hymn (Oliver Holden, 1792)
An Anthem for Easter (William Billings, 1787/1795)
Walpole (Abraham Wood, 1786)
Beauty (Jacob French, 1789)
Happiness (Jacob French, 1793)
Woburn (Jacob Kimball, 1793)
Montague (Timothy Swan, 1801)
Newport (Daniel Read, 1785)
Hatfield (Thomas Baird, 1800)
Attention (Asahel Benham [?], 1790)
Crucifixion (M. Kyes, 1798)
Mechias (James Lyon, 1774)
St. Paul's (Supply Belcher, 1794)
Transition (Supply Belcher, 1794)
Jubilant (Supply Belcher, 1794)
The Lilly (Supply Belcher, 1794)
Buckfield (Abraham Maxim, 1802)
Pennsylvania (Nehemiah Shumway, 1793)
Sounding Joy (J. P. Storm, 1795 )
Redemption (Jeremiah Ingalls, 1805)
Consolation (Lucius Chapin, c. 1812)
Liberty-Hall (Lucius Chapin, 1813)
Babe of Bethlehem (Southern Harmony, 1835)
Convoy (M. L. Swan, 1867)
Hallelujah New (Roland Hutchinson, 1996)
Nativity (Bruce Randall, 1990)
Cortona (M. R. Truelsen, 1996)
Great Divide (Stephen Marini, 1998)
Arinello (Dennis O'Brien, 1997)
Ev'ry String Awake (Glen Wright, 1996)
Ten Thousand Charms (Hal Kunkel, 1996)

Product Description

Sweet Seraphic Fire brings together two unique bodies of American sacred song: choral compositions from the New England singing-school tradition and the most popular Evangelical Protestant hymn texts in historic American use. In the late eighteenth century the New England singing-school movement produced America's first great sacred-music style, employing several genres of unaccompanied four-part choral compositions with the melody in the lead (tenor) part. The enormous popularity of singing-school music also promoted a canon of hymn texts shared across America's competing Evangelical Protestant denominations. This recording contains neglected masterworks from the New England singing school that also helped to create the American hymn canon. Marking a more recent turn in this process, we have also included some new settings of traditional Evangelical lyrics written by leaders in the revival of singing-school music that has blossomed in the Northeast since 1976. ! Selection of pieces for this recording was determined by correlating "The Norumbega Harmony"--our collection of one hundred six historic New England singing-school compositions and thirty contemporary works in traditional style--with a list of the three hundred most frequently printed hymn texts in America from 1737 to 1960. --Stephen Marini

Customer Reviews:

Fantastic!!!!!!.......2006-03-15

This is a REALLY cool album of shape-note singings, I particurlarly like EVERY STRING AWAKE and ANTHEM FOR EASTER.
Some of the songs are kind of dreary, (Hatfield) but all in all this is COOL!!!

Average customer rating:

desert island disc
A great Hotter anthology

Hans Hotter Lieder Recital

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Classical | Imports | Stores | Music
Similar Items:

Hans Hotter Wolf Lieder Recital
Great Recordings Of The Century - Schubert: Winterreise / Hotter, Moore
Schubert: Schwanengesang
Hans Hotter, The Early EMI Recordings
Wagner: Das Rheingold

ASIN: B00004YU8N
Release Date: 2000-12-12

Tracks:

An Die Musik, D547
No.4 Standchen
No.7 Abschied
Im Fruhling, D882
Der Lindenbaum
Wanderers Nachtlied II, D768
Wer Machte Dich So Krank?, Op.35 No.11
Alte Laute, Op.35 No.12
Erstes Grun, Op.35 No.4
Die Beiden Grenadiere, Op.49 No.1
Liederkries, Op.39: No.5 Mondnacht
Edward, Op.1 No.1
Der Erloking, Op.1 No.3
Odin's Meeresritt, Op.118
Die Wandelnde Glocke, Op.20 No.3
Hinkende Jamben, Op.62 No.5
Wie Melodien Zieht Es Mir, Op.105
Sonntag, Op.47 No.3
Komm Bald, Op.97 No.2
Wir Wandelten, Op.96 No.2
Wie Bist Du, Meine Konigin, Op.32 No.9
Heimkehr, Op.7 No.6
Wenn Du Nur Zuweilen Lachelst, Op.57 No.2
Verrat, Op.105 No.5
Ach, Weh Mir Ungluckhaftem Mann, Op.21 No.4
Ich Trage Meine Minne, Op.32 No.1
Der Gartner

Customer Reviews:

desert island disc.......2002-08-29

Hans Hotter is a wonder. The voice has a remarkable agility and breadth of expression, that has justly earned him the admiration of several generations. He is an expert at chiaroscuro, sometimes lightening the tone, as in Ständchen, while in Loewe's "Edward", he adopts a minatory timbr that is chilling. It is well known that Hotter was THE Wotan of the post-war years, but he is not inferior to any lieder singer. These songs are mini-dramas in his expert hands. Testament is quite generous with these re-issues of classic singers, packing 27 songs onto this disc. It is a recording worth having.

A great Hotter anthology.......2002-06-19

This compilation comes from 1966 and 1968, when the experienced Hotter had a high level of refinement. Very few people have been so succesful in fusing elements of both singer and actor into one entity as Hotter could. This CD is more proof of that. To a newcomer, his voice will sound quite dark and rich, but has vibrance. His characterizations are intense, but not exaggerated. And amazingly, both these elements are completely integrated. The works represented here need no introduction - if any of them cannot convince with Hotter singing, there is little alternative. To compare Hotter with Fischer-Dieskau is neither simple nor right, it is really up to one's taste. Yet the CD is also good for someone new to lieder. The recording quality is exceptional, even for the mono selections (about half the disc).

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