Europe '72 [Live]

Editorial Reviews
Amazon.com essential recording
This sprawling three-records-on-two-CDs set offers a healthy cross-section of material and finds the band honing even further its blend of musical languages. There are country-inflected boogies, blues rave-ups, passionate ballads, and, of course, the extended, adventurous jams that made them famous. Many of the Dead's best-loved tunes made their initial vinyl appearances here, including "He's Gone," "Jack Straw," "Brown-Eyed Women," "Ramble on Rose," and "Tennessee Jed"--most of which reveal a heavy country influence, especially in Robert Hunter's lyrics. In addition to introducing these new songs, Europe '72 also showcases brilliantly fine-tuned versions of "Truckin'" (complete with a lengthy "Epilogue") and "China Cat Sunflower/I Know You Rider," which became the first of the band's many magical song combinations. --Marc Greilsamer

Tracks:

Cumberland Blues
He's Gone
One More Saturday Night
Jack Straw
You Win Again
China Cat Sunflower
I Know You Rider
Brown-Eyed Woman
Hurts Me Too
Ramble On Rose
Sugar Magnolia
Mr. Charlie
Tennessee Jed
The Stranger (Two Souls In Communion)

Tracks:

Truckin'
Epilogue
Prelude
Morning Dew
Looks Like Rain
Good Lovin'
Caution (Do Not Stop On Tracks)
Who Do You Love?
Caution (Do Not Stop On The Tracks)
Good Lovin'
Bonus Track 1

Amazon.com essential recording

This sprawling three-records-on-two-CDs set offers a healthy cross-section of material and finds the band honing even further its blend of musical languages. There are country-inflected boogies, blues rave-ups, passionate ballads, and, of course, the extended, adventurous jams that made them famous. Many of the Dead's best-loved tunes made their initial vinyl appearances here, including "He's Gone," "Jack Straw," "Brown-Eyed Women," "Ramble on Rose," and "Tennessee Jed"--most of which reveal a heavy country influence, especially in Robert Hunter's lyrics. In addition to introducing these new songs, Europe '72 also showcases brilliantly fine-tuned versions of "Truckin'" (complete with a lengthy "Epilogue") and "China Cat Sunflower/I Know You Rider," which became the first of the band's many magical song combinations. --Marc Greilsamer

Album Description

Expanded & remastered in HDCD, this reissue of 1972 live album includes seven bonus tracks, 'The Stranger (Two Souls In Communion)', 'Looks Like Rain', 'Good Lovin', 'Caution (Do Not Stop On Tracks)', 'Who Do You Love?', 'Caution (Do Not Stop On Tracks)' & 'Good Lovin'. Featuring some of Jerry Garcia's last-ever pedal steel guitar playing with the Grateful Dead. Includes expanded booklet as well with rare photos & all-new liner notes, packaged in double gatefold Digipak. Warner/Rhino. 2003.

Customer Reviews:

this should be the greatest hits!!.......2007-06-30

greatest album ever by these guys!

american beauty is just as good, but shorter

this one is longer and worth the money

Dead invade Europe.......2007-04-23

Undoubtfully one of greatest Grateful Dead records, "Europe 72" gives us a general view on the European leg of 1972 tour. The group sound was changing and by then it was balanced between the jams of the late sixties and the country/folk excursions of "Workingman's Dead" and "American Beauty". Another cause for the change in sound was the addition of Keith Godchaux on beautiful acoustic piano, since Pigpen was not in good shape to handle the keyboards (and in fact, this was his last tour with the Dead before his death in 1973). Anyway, Ronald "Pigpen" McKernan gives it all, and there are still some really nice organ touches in some numbers, plus his powerful vocal renditions (even though his voice was notably weaker). As for the rest of the band, they were at their very best. Kreutzman was playing better than ever, Lesh was as outstanding as always, Weir had taken a lot more prominence on stage with his own songs, and Garcia, well, he was Jerry Garcia and that seems to be enough.
This album is not entirely live, we should add. Most of the vocals were overdubbed on studio. It should be pointed out that it was possibly done because most of the material was new and the Dead surely wanted to have neat and always-in-tune vocal tracks for the record where these songs were going to be featured for the very first time. Among these new compositions there are real Garcia-Hunter gems (Ramble On Rose, He's Gone, Brown-Eyed Women) and some really interesting Weir works (Jack Straw, One More Saturday Night), plus Pigpen's "Mr.Charlie". Hunter wanted the Dead to record some of these songs on a studio album which was going to be called "Rambling Rose", but the tour and the rehearsal sessions with new-comer Godchaux didn't allow time to do so.
This expanded edition provides a long "Good Lovin'" jam and "Two Souls In Communion", maybe the best Pigpen composition ever, which was left out of the original album only God knows why.
So, folks, this is top Dead. Classics, new material, atonal abstract instrumental jams, etc. etc.
(Note: for raw, not-overdubbed material from this tour, look for "Hundred Year Hall", "Rocking the Rhein" or "Steeping Out With The Grateful Dead England '72". While listening, you will find they sounded even better without any overdubs).

Perhaps the best intro to the Dead for the uninitiated: superb.......2007-02-05

This is an enduring classic, for one simple reason: the playing and the material are uniformly superb. It has its detractors, who are often critical of the fact that vocal tracks were overdubbed in the studio, but this merely points out that what Deadheads tend to value is not necessarily what ordinary music-lovers value. In the case of the Dead, whose live vocals were extremely inconsistent and often painfully unprofessional, the overdubbing is, in my opinion, a definite advantage. Those who prefer to hear music played in tune will, I'm sure, agree with my assessment. Now that we've got that out of the way, the playing is very tight-- everyone is consistently firing on all cylinders. The material in many cases may be seen as drawing from the same inspirational well that is evident in The Band's music-- described by one writer
as an "evocation of a semi-mythological rural America" -- and represents some of the best of the material penned by Garcia and lyricist Robert Hunter. Deadhead's seemingly obliviousness to the brilliance of Bob Weir's rhythm guitar playing is very puzzling. He was perhaps at his absolute peak when this was recorded, and his playing is astoundingly good. Likewise, Deadheads tend to display what to my ears is an entirely unfounded dislike for Keith Godchaux's piano playing, which covers many different styles here with authority, authenticity, and inventiveness. The way he weaves his parts around the bass, organ, and two guitars is fantastic, adding beautiful harmonic colors and rhythmic drive. And the sound of acoustic piano was just what this material called for. The bass playing and drumming are terrific-- to my ears, the band always sounded a bit heavy-handed and leaden-footed with two drummers. Kreutzman is all the drummer they ever needed and proves it here, in spades. Garcia tends to play many shorter solos rather than extended ones, but makes every note count. His playing throughout is masterful, achingly lyrical and inventive. Lesh, perhaps the most consistent bandmember,displays his usual virtuosity, like a giant anaconda, slithering along-- displaying fluidity and pinpoint accuracy at the same time. In short, if you love good music you can't lose with this one.

Could be better.......2006-12-29

It's a good cd; but feel deceived as title is Europe '72 I expected it to be a "live " cd, and found out it was recorded in a S.F. warehouse!!

The Best Dead......still.......2006-12-13

I remember when this album was issued....everyone had it. You couldn't get away from it if you tried. In my personal opinion (this coming from a definate NON-dead head) I believe this to be their very best live album. The band is tight, the harmonies pretty glorious, the late Pigpen still alive and along for the ride, the then recent addition of Keith Godchaux adding serious musicianship to the band (his wifes' off key wailing kept to a minimum on this album..bonus days), drummer Bill Kreutzmann alone without Mickey Hart and playing his a** off.....it's all pretty much here on this album.

Hardcore fans will probably disagree with me, but I think this is an essential album by the band. The expanded version just gives more of a perfect thing..........buy this if you don't already have it.

Average customer rating:

An outstanding modern version
Dvorak played with the sophistication of Johann Strauss
And all that jazz...
Different !
New life for brilliant showpieces

Dvorak: Slavonic Dances

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B00005YTKD
Release Date: 2002-05-21

Tracks:

Slavonic Dances, Op.46: No.1. Furiant: Presto
Slavonic Dances, Op.46: No.2. Dumka: Allegretto Scherzando
Slavonic Dances, Op.46: No.3. Polka: Poco Allegro
Slavonic Dances, Op.46: No.4. Sousedska: Tempo Di Minuetto
Slavonic Dances, Op.46: No.5. Skocna: Allegro Vivace
Slavonic Dances, Op.46: No.6. Sousedska: Allegretto Scherzando
Slavonic Dances, Op.46: No.7. Skocna: Allegro Assai
Slavonic Dances, Op.46: No.8. Furiant: Presto
Slavonic Dances, Op.72: No.1. Odzemek: Molto Vivace
Slavonic Dances, Op.72: No.2. Starodavny: Allegretto Grazioso
Slavonic Dances, Op.72: No.3. Skocna: Allegro
Slavonic Dances, Op.72: No.4. Dumka: Allegretto Grazioso
Slavonic Dances, Op.72: No.5. Spacirka: Poco Adagio
Slavonic Dances, Op.72: No.6. Starodavny: Moderato, Quasi Minuetto
Slavonic Dances, Op.72: No.7. Srbske Kolo: Allegro Vivace
Slavonic Dances, Op.72: No.8. Sousedska: Lento Grazioso, Quasi Tempo Di Valse

Customer Reviews:

An outstanding modern version.......2006-03-03

I'd say life has been kind to this music. There are the fabulous Szell recordings and both of Kubelik's, then Rodzinski's on old Westminster. I'm sure plenty of others. Great stuff. A good conductor with a top-notch orchestra always seems to have fun with these and why not, they're made to have fun with. Generally, modern recordings of this repertoire don't work for me, flawless playing is usually paired with an odd lack of spirit--like the performers really don't believe in the music; like everyone's playing with one eye on the 401K and another on the resume, in other words like most modernistical people do things these days. Kind of sad when a sort of antiseptic perfection is the only standard--there's something Byzantine or Manchu court about that.

Harnoncourt seems to both fire people up and get the maximum impact out of the music. If anything, he's a man of his times in that his performances--although enthusiastic and sometimes eccentric--can seem a hair fussy and over-focused. That's the only drawback. This recording shows him actually cutting loose more than usual and it's refreshing. Sound is phenomenal. One of the best in a good pack.

Dvorak played with the sophistication of Johann Strauss.......2005-11-01

Dvorak's popular Slavonic Dances are traditionally approached rustically, and the definitive vaclav Talich recording from decades past immerses you immediately into a Czech landscape of peasant festivities. Harnoncourt isn't remotely like that--he conducts each dance with the urbane suavity of a Strauss waltz. The sound of the orchestra is gorgeous and gorgeously recorded. But if you don't want all this nuance and detailed phrasing, these Slavonic Dances aren't for you. I love them, becasue as Harnoncourt is wont to do--when he isn't being outrageous--he makes each dance sound new and original. Highly recommended to anyone who doesn't like to get his boots muddy.

And all that jazz..........2003-10-15

Dvorak's Slavonic Dances were the European version of American jazz at the time - slightly scandalous, quirky, played by many and open to various interpretations. Only slowly, like the Tango or the Mazurka, have they become an acceptable part of Classical Music (quote unquote).

Despite all their sheer brilliance, fluctuating harmonies and melodies, they are, in the end, DANCES with all the rhythm, drive and meter that implies. As such, this recording is quite genuine in that it accents the frenetic and sensual aspect of these pieces. A tour de force of technique with imaginative interpretation - a winner.

Different !.......2003-08-03

A great recording of the "Master of Truth".

And indeed, it is a different recording!
Not like the typical Bohemian style.

It is an outstanding performance, almost chamber like
and very symphonic.

A different approach to the Dances, without the usual
beauty: more serious.

For me this is The Number One recording of the Dances
(and I know at least ten of them !).

New life for brilliant showpieces.......2003-05-23

Harnoncourt has already shown himself to be quite the Dvorak interpreter in other recordings, but this one may trump them all. With the Chamber Orchestra of Europe in blazing form, these performances show why these pieces are often used as encores. (Despite Dvorak's keen sense of pacing, some listeners may choose to listen to just a handful at a time. One can only take so much brilliance at one sitting.)

What distinguishes Harnoncourt's vision is his blend of dash and lyricism, with slightly faster tempi in most of these. Op. 46, No. 7 begins with a delicious oboe figure that soon grows into brazen, monumental chords for the entire orchestra. Throughout the disc, Harnoncourt thrillingly goes for broke in the fast sequences, but then just as exciting, allows the fire to die down and lets us see the flickering of the embers. As rhythmically charged as many of the pieces are, many are softer and wistful as well, and he captures all the exhilarating contrasts.

The disc was taken from live performances and are amazingly polished; you wonder what it must have been like to be in the audience. The Chamber Orchestra of Europe displays an almost playfully athleticism in following Harnoncourt's lead, and they produce a ravishing sound. The woodwinds, especially, have to be heard to be believed.

Tracks:

Chopin And The Soul Of The Piano - Jeremy Siepmann/Anton Lesser
Berceuse, Op.57 - Idil Biret
Chopin The Pole - Jeremy Siepmann/Anton Lesser
Polonaise in g - Idil Biret
Early Education - Jeremy Siepmann/Anton Lesser
Vars On A German Air - Idil Biret
Encounters With The Polish Peasantry - Jeremy Siepmann/Anton Lesser
Mazurka in G - Idil Biret
Chopin As Industrious Pupil - Jeremy Siepmann/Anton Lesser
Son in c (Opening) - Idil Biret
He Finds His True Voice As A Composer - Jeremy Siepmann/Anton Lesser
Rondo A La Mazur, Op.5 - Idil Biret
The Fun-Loving Teenager - Jeremy Siepmann/Anton Lesser
Ecossaise, Op.72 No.3 - Idil Biret
Onset Of Illness And The Death Of A Sister - Jeremy Siepmann/Anton Lesser
Nocturne in e - Idil Biret
Hats Off, Gentlemen! A Genius! - Jeremy Siepmann/Anton Lesser
Vars On 'La Ci Darem La Mano', Op.2 - Idil Biret
The Influence Of Paganini - Jeremy Siepmann/Anton Lesser
Souvenir De Paganini - Idil Biret
The First Etudes - Jeremy Siepmann/Anton Lesser
Etude in c#, Op.10, No.4 - Idil Biret
Success In Vienna - Jeremy Siepmann/Anton Lesser
Nocturne in c# - Idil Biret
Chopin In Love - Jeremy Siepmann/Anton Lesser
Polonaise - Idil Biret
Stagnation, Celebrity And The First Con - Jeremy Siepmann/Anton Lesser
Con in f, Op.21 - Idil Biret
Return Of Vitality And Inspiration - Jeremy Siepmann/Anton Lesser
Con in e, Op.11 - Idil Biret
Farewells And The Final Departure From Poland - Jeremy Siepmann/Anton Lesser

Tracks:

Europe And Chopin In Crisis - Jeremy Siepmann/Anton Lesser
Scherzo No.1 in b - Idil Biret
Arrival In Paris - Jeremy Siepmann/Anton Lesser
Waltz in E flat, Op.18 - Idil Biret
Paris, Politics, Poles And Performance - Jeremy Siepmann/Anton Lesser
Impromptu in A flat, Op.29 - Idil Biret
Chopin And The Opr - Jeremy Siepmann/Anton Lesser
Andante Spianato, Op.22 - Idil Biret
Chopin And Kalkbrenner - Jeremy Siepmann/Anton Lesser
Etude in G flat, Op.10, No.5 - Idil Biret
The Cholera Epidemi; The Fashionable Teacher - Jeremy Siepmann/Anton Lesser
Etude in C minor, Op.10, No.12, The 'Revolutionary' - Idil Biret
Teaching In Earnest - Jeremy Siepmann/Anton Lesser
Etude in a, Op.25, No.4 - Idil Biret
Souplesse Avant Tout! - Jeremy Siepmann/Anton Lesser
Nocturne in b flat, Op.9, No.1 - Idil Biret

Tracks:

The Woodzinska Affair - Jeremy Siepmann/Anton Lesser
Nocturne in B, Op.32, No.1 - Idil Biret
An Elegant, Pale, Sad Young Man - Jeremy Siepmann/Anton Lesser
Nocturne in D flat, Op.27, No.2 - Idil Biret
George Sand And A Majorcan Winter - Jeremy Siepmann/Anton Lesser
Prlds, Op.28 - Idil Biret
Misanthropy, Hypocrisy And Prejudice - Jeremy Siepmann/Anton Lesser
Mazurkas - Idil Biret
At Nohant: An Idyllic And Creative Summer - Jeremy Siepmann/Anton Lesser
Impromptu in F# - Idil Biret
The Idyll Continues - Jeremy Siepmann/Anton Lesser
Sonata in b flat: Funeral March And Finale - Idil Biret

Tracks:

The Return To Paris - Jeremy Siepmann/Anton Lesser
Ballade No.4 in f - Idil Biret
Chopin Grows Moody, Petulant And Volatile - Jeremy Siepmann/Anton Lesser
Son No.3 in b, Op.58: Finale - Idil Biret
Failing Health And Mounting Tensions - Jeremy Siepmann/Anton Lesser
Barcarolle, Op.60 - Idil Biret
The Break With Sand; Illness; London - Jeremy Siepmann/Anton Lesser
Prld in F#, Op.28, No.8 - Idil Biret
Scotland, London, Paris; Decline And Death - Jeremy Siepmann/Anton Lesser
Polonaise in A flat, Op.53 - Idil Biret

Customer Reviews:

An excellent introduction to both the life and the work.......2001-08-10

Not having known very much at all about Chopin, I cannot vouch for the accuracy in the Naxos entry in their CD and cassette Biography series; but I can vouch for the enjoyment (NA 421912) afforded me.

Written and produced by Jeremy Siepmann, this audio-bio not only tells the strange story of Chopin's life but also includes generous examples of his music, drawn from the bottomless pit of Naxos musical CDs. An excellent idea was to use actors for the voices of Chopin (Anton Lesser), George Sand and other females in his life (Elaine Claxton and Karen Archer), and other male acquaintances (Neville Jason). It is the kind of reading that would fascinate even if the work were fictional.

His letters are particularly fascinating, especially as they are read dramatically by the small cast; and one would rather hear about all his faults--physical and psychological--from people who knew him well. Perhaps his strange epistolary relationship with his Titus is dwelt upon a bit too much, but such are the times (then and now).

Tracks:

Ov - CO of Europe/Nikolaus Harnoncourt
Erster Aufzug: No.1 Duet: Jetzt, Schatzchen, jetzt sind wir allein - Deon van der Walt/Barbara Bonney
Erster Aufzug: No.2 Aria: O war' ich schon mit dir vereint - Barbara Bonney
Erster Aufzug: No.3 Qt: Mir ist so wunderbar - Barbara Bonney/Charlotte Margiono/Laszlo Polgar/Deon van der Walt
Erster Aufzug: No.4 Arie: Hat man nicht auch Gold beineben - Laszlo Polgar
Erster Aufzug: No.5.Terzett: Gut, sohnchen, gut - Laszlo Polgar/Charlotte Margiono/Barbara Bonney
Erster Aufzug: No.6 Marsch - Laszlo Polgar/Charlotte Margiono/Barbara Bonney
Erster Aufzug: No.7 Aria with Chor: Ha, welch ein Augenblick! - Sergei Leiferkus/Arnold Schoenberg Chor/Erwin Ortner
Erster Aufzug: No.8 Duet: Jetzt, alter, hat es Eile! - Sergei Leiferkus/Laszlo Polgar
Erster Aufzug: No.9 Recitative & Arie: Abscheulicher, wo eilst du hin - Charlotte Margiono
Erster Aufzug: No.10 Finale: O welche Lust - Arnold Schoenberg Chor/Erwin Ortner
Erster Aufzug: No.10 Finale: Nun sprecht, wie ging's? - Charlotte Margiono/Laszlo Polgar/Barbara Bonney/Deon van der Walt/Sergei Leiferkus
Erster Aufzug: No.10 Finale: Leb wohl, du warmes Sonnenlicht - Arnold Schoenberg Chor/Erwin Ortner/Barbara Bonney/Charlotte Margiono/Deon van der Walt...

Tracks:

Zweiter Aufzug: No.11 Intro & Aria: Gott!-Welch Dunkel hier! - Peter Seiffert
Zweiter Aufzug: No.11 Intro & Aria: In des Lebens Fruhlingstagen - Peter Seiffert
Zweiter Aufzug: No.12 Melodram & Duet: Wie kalt es ist - Charlotte Margiono/Laszlo Polgar
Zweiter Aufzug: No.12 Melodram & Duet: Nur hurtig fort, nur frisch gegraben - Laszlo Polgar/Charlotte Margiono
Zweiter Aufzug: No.13 Terzett: Euch werde Lohn - Peter Seiffert/Laszlo Polgar/Charlotte Margiono
Zweiter Aufzug: No.14 Qt: Er sterbe! - Charlotte Margiono
Zweiter Aufzug: No.15 Duet: O namenlose Freude! - Sergei Leiferkus/Peter Seiffert/Charlotte Margiono/Laszlo Polgar
Zweiter Aufzug: No.16 Finale: Heil sei dem Tag - Arnold Schoenberg Chor/Erwin Ortner
Zweiter Aufzug: No.16 Finale: Des besten Konigs Wink & Willie - Boje Skovhus/Arnold Schoenberg Chor/Erwin Ortner/Laszlo Polgar/Sergei Leiferkus...
Zweiter Aufzug: No.16 Finale: Wer ein holdes Weib errungen - Arnold Schoenberg Chor/Erwin Ortner/Peter Seiffert/Charlotte Margiono/Laszlo Polgar...

Customer Reviews:

Flawed performance..........2002-03-02

This fine performance of Beethoven's great opera is a marred by the fact that the text is not entirely Beethoven's. Unfortunately, the text is an "adapted" one. So, if you want to hear the real Fidelio look elsewhere. The Naxos version, though it is cut, is excellent and worth acquiring.

As a general rule I prefer to hear the composers final thoughts (or earlier versions) rather than that of a conductor or an editor.

The best digital Fidelio.......2000-02-22

Despite what the Gramophone says, I think this is the best digital Fidelio available. If you bought Harnoncourt's superb Beethoven cycle with the same orchestra, you will know what to expect: sharp tempos in early XIX Century fashion, and sensational orchestral playing. But there is also warmth and humanity in Harnoncourt's vision. This set reminds me of my favourite Fidelio: the Ferenc Fricsay recording in DG with Rysanek, Haefliger and DFD. Charlotte Margiono has the right voice for Leonore and gives an outstanding performance. The rest of the cast is also excellent.

Average customer rating:

Fantastic Stuff!...

Beethoven: Overtures

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music
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Beethoven: Complete Overtures

ASIN: B000000S8V
Release Date: 1996-10-15

Tracks:

Coriolan Op. 62
Die Geschoepfe des Prometheus Op. 43
Die Ruinen von Athen Op.113
Fidelio Op. 72
Leonore I Op. 138
Leonore II Op. 72
Leonore III Op. 72
Egmont Op. 84

Amazon.com

Nikolaus Harnoncourt's approach to Beethoven ranges from supremely dramatic to just plain weird. Actually, that's true of just about everything that he conducts, but fortunately he's squarely in "supremely dramatic" mode in this excellent collection of overtures. These short works contain some of Beethoven's most exciting and exalted music--older listeners may recall the unforgettable impression that Egmont made at the televised memorial service for the Israeli athletes killed at the Munich Olympics. No one was better than Beethoven at finding ways to pack maximum meaning into a small space, and if you love the symphonies, you'll want to have these works too. --David Hurwitz

Customer Reviews:

Fantastic Stuff!..........2003-01-26

I have listened to numerous recordings of these great Beethoven works, and Harnoncourt's is by far the best. The quality of recording, on top of the superior interpretation, makes it a must for any collection. I can say that the Coriolan Overture (track 1) is by far the most frightening example of this work I've ever heard (and this is a good thing!). Listen in particular to the horns in the recapitulation--it'll make the hair stand up on the back of your head. As for the Leonore III, the tempo WORKS! (as opposed to many others I've heard), and the big chord in the coda is positively orgasmic. Perhaps the greatest compilation of wonderful overtures of LVB ever created.

Average customer rating:

Beethoven: Fidelio (Highlights)

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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4-for-3 Classical | 4-for-3 Music | Stores | Music

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4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
ASIN: B00005QHT7
Release Date: 2002-09-17

Average customer rating:

Violin For Dummies

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002S9T
Release Date: 1997-04-01

Tracks:

Partita No. 3 in E, BWV 1006 - Christian Tetzlaff
Songs my mother taught me, Op. 55 No. 4 - Ida Haendel/Geoffery Parsons
Romance No. 2 in F, Op. 50 - Josef Suk/ASMF/Sir Neville Marriner
Legende, Op. 17 - David Oistrakh/Vladimir Yampolsky
Vocalise - Jin Li/Geoffery Parsons
Berceuse, Op. 16 - Augustin Dumay/Jean-Phillippe Collard
Moto perptuo - Salvatore Accardo/CO of Europe/Franco Tamponi
On Wings of Song, Op. 34 No. 2 - Ida Haendel/Geoffery Parsons
Con in E ' Il riposo '- Allegro - Salvatore Accardo/I Solisti dell Settimane Musicali Internazionali di Napoli
Zigeunerweisen, Op. 20 No. 1 - Jin Li/Geoffery Parsons
Introduction & Rondo capriccioso, Op. 28 - Ulf Hoelscher/New PO/Pierre Dervaux

Average customer rating:

Beethoven: Fidelio (Highlights)

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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German | Languages | Opera & Vocal | Styles | Music
ASIN: B000024UKC
Release Date: 1997-08-26

The Wind Soloists of The Chamber Orchestra of Europe

Average customer rating:

The Wind Soloists of The Chamber Orchestra of Europe

Manufacturer: ASV Living Era
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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ASIN: B0000030ZM
Release Date: 1995-02-13

Average customer rating:

Europe 72
If
Manufacturer: Repertoire/Hepcat
ProductGroup: Music
Binding: Audio CD
ASIN: B0002B768Q
Release Date: 2002-11-06

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