Last Clouds

1. Nostalgia

2. Charity

3. East

4. West

5. Acts/Volcano of Birds

6. Caspian Sea

7. Dust Crushed from a Moth

8. Pomegranate

9. Hope, Pt. 2

10. Cypress Trees

11. Last Clouds

Tracks:

String Quartet In G Major, Hob. 3: 81 (Op. 77 No. 1): 1. Allegro moderato
String Quartet In G Major, Hob. 3: 81 (Op. 77 No. 1): 2. Adagio
String Quartet In G Major, Hob. 3: 81 (Op. 77 No. 1): 3. Menuetto. Presto
String Quartet In G Major, Hob. 3: 81 (Op. 77 No. 1): 4. Finale. Presto
String Quartet In F Major, Hob. 3: 82 (Op. 77 No. 2): 1. Allegro moderato
String Quartet In F Major, Hob. 3: 82 (Op. 77 No. 2): 2. Menuetto. Presto, ma non troppo
String Quartet In F Major, Hob. 3: 82 (Op. 77 No. 2): 3. Andante
String Quartet In F Major, Hob. 3: 82 (Op. 77 No. 2): 4. Finale. Vivace assai
String Quartet In D Minor, Hob. 3: 83 (Op. 103): 1. Andante grazioso
String Quartet In D Minor, Hob. 3: 83 (Op. 103): 2. Menuetto ma non troppo Presto
Four Part Setting 'The Old Man', Hob. 25c: 5: Molto Adagio

Customer Reviews:

Divine Papa.......2006-06-11

This is a truly beautiful disk. Both the performance and the recording are exceptional. In the hands of these musicians, the beauty of Haydn's music really shines through. His lyricism, elegance, and grace are all in evidence here.

Unfortunately this ensemble has not (as of this writing) recorded any other sets of Haydn's string quartets so if you are someone who prefers to buy the complete quartets by one ensemble, then the sets by Quatuor Mosaiques are highly regarded. If you are someone who already owns a box set of Haydn's complete string quartets, you might still want to give this disk a listen. If you are someone who has never really explored Haydn's music or chamber music in general, this disk might just get you hooked.

Revelatory perfornces of great music.......2006-02-16

Until I heard this disc I was perfectly happy with the Kodaly recording of the two opus 77 quartets, but the playing on this recording is revelatory. The phrasing, the management of dynamics, the beautiful sounds of the instruments and, above all, the way the four musicians listen to each each are absolutely 5 star. This has become my favorite Haydn quartet recording and my favorite L'Archibudelli recording. Quartet lovers should write to SONY and ask for more L'Archibudelli recordings of Haydn quartets and of Mozart's quartets #14-#19 dedicated to Haydn.

Revelatory.......2005-12-05

Listening to this recording profoundly deepened my appreciation and understanding of Haydn's accomplishment. Haydn developed the string quartet form and in these late works we hear it brought to perfection. Here is the foundation for Beethoven's great quartets. L'Achibudelli's "period" approach makes the structure of these pieces apparent, while still retaining the warmth and pathos of the music. The playing is extrordinary, the color and tempos are just right, and the recording quality is superb. If you have any interest in string quartets or Haydn (or both) this CD is essential.

Essential listening........2003-09-14

IMHO this is historic: the finest record of any string quartets by anybody ever made. Stretch? Listen to how the phrases dovetail tonally from part to part, how the figures flow so easily on gut strings, the glorious viola sound, utterly unlike the dull modern sound, the relaxed energy and effortless blend of identities of it all. This is truly a best guess as to what pre-industrial classical quartets really sounded like. Check out Immerseel's Anima Eterna group doing Schubert for the closest orchestral comparison.

Haydn, the Modernist.......2001-11-17

Well, this may be going a little far, but of course many of Haydn's late compositions point their way forward. The choral writing in his late oratorios and masses showed Beethoven the way in his two masses, especially the Missa Solemnis. And then Haydn's symphonies used novel devices that propelled all of High Classical symphonic writing: the use of motives, rather than whole melodies, that gave symphonic fast movements great concision and motoric thrust.

In the world of the string quartet, too, Haydn, not Mozart, is the model for Bethoven and Schubert--even Schumann. The first of the Op. 77 quartets tells you why. Though called a minuet still, the third movement is a genuine scherzo of Beethovenian stripe, and the last movement, with its perpetuum mobile codetta, sounds very much like the more Dionysiac passages in Beethoven's quartets. (The wonderful last movement of the of Op. 59, No. 3, comes to mind immediately.)

Here is a chance to examine this side of Haydn in two quartets that show him still at the height of his powers. Even the Op. 103, which Haydn couldn't complete because of failing health, has a strangely menacing-sounding minuet that takes us into a darker part of the soul than the Classical era almost ever explored.

These performances are very fine indeed, though note that they employ period instruments. If the Kodaly or Lindsay Quartet is your paradigm in Haydn, you may be disappointed by the lack of vibrato and the steelier tone that gut strings impart. That said, these are models of period performance practice, with a fleetness in the faster movements and a sober, dry-eyed approach to the more inward music that sounds just right for this late 18th-century music. The inclusion of the transcription of Haydn's song about growing old adds an especially apt note to the proceedings, given that Op. 103 was Haydn's farewell to music.

Life Upon the Wicked Stage
Average customer rating:
Life Upon the Wicked Stage
Carole Cook , Jerome Kern , Grant Geissman , David Stout [trombone] , Dan Fornero , John Fumo , Brock Peters , James Anderson , Jane Lanier , Lauren Kennedy , Linda Michele , Marissa Jaret Winokur , Melissa Errico , Reece Holland , Robert Morse , Rod McKuen , Roger Rees , Ronnie Franklin , and Steve Orich
Manufacturer: Lml Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000658H9
Release Date: 2002-05-07

Tracks:

The Song Is You - Jamie Anderson
How'd You like To Spoon With Me? - Jane Lanier
The Land Where The Good Songs Go - Pamela Myers
All The Things You Are - Alan Campbell
The Folks Who Live On The Hill - Lee Lessack
She Didn't Say Yes - Marissa Jaret Winokur
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You Couldn't Be Cuter - Marsha Kramer
Shimmy With Me - Lea Thompson
They All Look Alike - Bruce Vilanch
There It Is Again - David Holladay
Remind Me - Ron Rifkin
In Love In Vain - Melissa Errico
Make Believe - Linda Michele
Ol' Man River - Brock Peters
You Are Love - Dale Kristien
I Won't Dance - Bonnie Franklin

Tracks:

The Last Time I Saw Paris - Charles Busch
Long Ago (And Far Away) - Pam Dawber
They Didn't Believe Me - Pat Marshall
Look For The Silver Lining - Rod McKuen
A Fine Romance - Jane Carr
Sure Thing - Sally Kellerman
Don't Ever Leave Me/Why Was I Born - Joely Fisher
I'm Old Fashioned - Robert Morse
Yesterdays - Joan Ryan
Smoke Gets In Your Eyes - Dorian Harewood
In The Heart Of The Dark - Dale Kristien
Can't Help Lovin' Dat Man - Valarie Pettiford
The Way You Look Tonight - Hugh Panaro
Life On The Wicked Stage - Carole Cook
I've Told Every Little Star - Carole Cook
Till The Clouds Roll By - The Company

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A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

Tracks:

Amapola (From The Film 'First Love')
Because (From The Film 'Three Smart Girls Grow Up')
When April Sings (From The Film 'Spring Parade')
Waltzing In The Clouds (From The Film 'Spring Parade')
My Own (From The Film 'Certain Age')
Brindsi (From The Film '100 Men And A Girl')
Beneath The Lights Of Home (From The Film 'Nice Girl')
Spring In My Heart (From The Film 'First Love')
It's Raining Sunbeams (From The Film '100 Men And A Girl')
Musetta's Waltz Song (From The Film 'It's A Date')
Love Is All (From The Film 'It's A Date')
Perhaps (From The Film 'Nice Girl')
One Fine Day (From The Film 'First Love')
Home, Sweet Home (From The Film 'First Love')
The Last Rose Of Summer (From The Film 'Three Smart Girls Grow Up')
Il Bacio (The Kiss)
Ave Maria (From The Film 'Mad About Music')
Loch Lomond (From The Film 'It's A Date')
Alleuia (From The Film '100 Men And A Girl')
Ave Maria (From The Film 'It's A Date')
It's Foolish But It's Fun (From 'Spring Parade')
The Old Folks At Home (From the Film 'Nice Girl')

Customer Reviews:

A Great Collection of Songs That Made Her a Star:.......2000-06-18

It was her first several motion pictures that resulted in Deanna Durbin's becoming the highest paid female star of her time; and it is from those movies that this anthology has been taken. The selections are a good mixture of everything from operatic arias to popular tunes of the day. The original recordings are over sixty years old; but modern engineering techniques have enhanced them to "better than new" sound. If you, like so many others, are rediscovering this remarkable young artist, this album will provide a great deal of pleasure...for the music, and as an excellent example of nostalgic memorabilia.

Average customer rating:

Haydn: The Seasons

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

Handel: Solomon; Love in Bath
Beethoven: Symphonies Nos. 2 & 7; Mass in C
Prokofiev: Peter & the Wolf
La Boheme

ASIN: B0002XV2ZW
Release Date: 2005-02-15

Tracks:

Overture
Recitative: Oh See Where Cruel Winter Flies
Chorus: Come, Gentle Spring!
Recitative: From Aries Rolls At Last The Bounteous Sun
Air: Now Fairly Runs The Farmer's Boy
Recitative: The Countryman Has His Work Achieved
Trio And Chorus: Be Now GRacious, Smiling Heaven!
Recitative: Now Heard Are All Our Prayers
Trio And Chorus: Oh HOw Lovely Gleams The Outlook
Chorus And Trio: Ageless! Powerful! Bounteous God!
Recitative: IN Dove-Grey Mantle Drawing Near
Air: The LIvely Swain Is Gath'ring Now His Happy Flocks
Recitative: The Rosy Morn Breaks Forth
Trio And Chorus: He's Mounting Up, The Sun
Recitative: Now All Are Astir
Recitative: The Midday Sun Is Burning Now
Cavatina: Opress'd Succumbs All Nature Now
Recitative: Oh Welcome Now, You Shadier Grove
Air: So Reviving To The Senses
Recitative: Oh See! Now Rising In The Sultry Air
Chorus: Hark! The Tempest Drawing Night!
Trio And Chorus: The Gloomy Clouds Now Part Aside

Tracks:

Overture
Recitative: All That Through Her Blossom Fair Spring
Trio And Chorus: So Nature Gives Reward To Zeal
Recitative: Now See! To Hazel Bushes There The Youngsters
Duet: You Beauties Of The Town
Recitative: Now See, On New-Stripp'd Harvest Field
Air: There Look Across The Open Fields
Recitative: Here Beaters, Closing In , Put Up The Hares
Chorus: Hark! The Clamorous Noise That Through The Wood
Recitative: On All The Vines Are Glist'ning
Chorus: Cheer Now! The Wine Is Here
Introduction
Recitative: Now Sinks The Pale Declining Year
Cavatina: Light And Life Are Both Enfeebled
Recitative: Allfetter'd Lies The Open Lake
Air: Here Stands The Wand'rer Now
Recitative: At His Approach Rings In His Ear
Song And Chorus: Purring, Whirring, Purring
Recitative: The Flax Has Now Been Spun
Song And Chorus: A Maid Who Kept Her Honour Fair
Recitative: From Barren East Now Thrust Far Keener Icy Blasts
Air: Before Thee Here, Deluded Man
Recitative: Remains, Alone, And is Our Guide
Trio And Double Chorus: Then Breaks The Glorious Day At Last

Average customer rating:

Broadway style performances in terrific sound!

The Musicality of Kern

Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Broadway & Vocalists | Indie Music | Stores | Music
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The Musicality of Rodgers & Hammerstein
Musicality of Lerner and Loewe
The Musicality of Porter
The Musicality of Rodgers & Hart
The Musicality of Novello

ASIN: B00006640U
Release Date: 2002-06-11

Tracks:

Can't Help Singing ("Can't Help Singing") - Katrina Murphy
Till the Clouds Roll By ("Oh, Boy! ") - Graham Bickley / Katherine Evans
Smoke Gets in Your Eyes ("Roberta") - Glory Crampton
Who? ("Sunny") - Matt Bogart / Jessica Boevers
They Didn't Believe Me ("The Girl from Utah") - Darryl Knock
Make Believe ("Showboat ") - Thomas Allen and Valerie Masterson
The Last Time I Saw Paris ("Lady Be Good") - George Dvorsky
Can I Forget You? ("High Wide and Handsome") - Elisabeth Welch
Look for the Silver Lining ("Sally") - Alexander Hanson / Catherine Port
I'm Old Fashioned ("You Were Never Lovelier") - Lorna Dallas
Dearly Beloved ("You Were Never Lovely") - Daniella Carson
Ol' Man River ("Showboat") - Willard White

Customer Reviews:

Broadway style performances in terrific sound!.......2006-07-11

These performances by British singers are all ones that Kern himself would have liked. No-nonsense singing and arranging so that what you hear is the song Kern wrote--not a performaner's special interpretation that is more about the performer than the song. Most sound as if they are right out of the show that generated the song in the first place. If you want top drawer musicality of performers that match the composer's, this is far better than the compilations of assorted pop singers. It's all about Kern's music.

Average customer rating:

By Special Request
Mantovani
Manufacturer: Guild
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

Orchestral Pop | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

General | Soundtracks | Styles | Music

General | Classical | Styles | Music
ASIN: B0006OR12A
Release Date: 2005-01-17

Tracks:

Begin the Beguine
Carriage and Pair
Destiny Waltz
Way to the Stars
Tropical
Blithe Spirit - Waltz Theme
Whirlwind
September Nocturne - The Mantovani Orchestra, Arthur Sandford
Timbalero
Passing Clouds
Blue Mantilla
Flying Saucers (Bees in the Bonnet) - The Mantovani Orchestra, Arthur Sandford
Choclo (Kiss of Fire)
Love, Here Is My Heart
When the Lilac Blooms Again
Love's Roundabout (La Ronde de l'Amour)
Media Luz
Po (My Moonlight Madonna)
Love's Dream After the Ball
Amoureuse (So Madly in Love)
Chiquita Mia
Love's Last Word Is Spoken
Blauer Himmel
Suddenly (Im Chambre Separe
Whistling Boy
Agnes Waltz

Album Details

Rare Unreleased Mono Recordings from the Dusty Vaults Previously Unavailable on CD.

The Clouds of Magellan: The Music of Eugene O'Brien

Average customer rating:

The Clouds of Magellan: The Music of Eugene O'Brien

Manufacturer: Indiana University
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00018D2YC
Release Date: 2004-01-27

Average customer rating:

Lively, colourful
Sizzles!
just an amazing performance
just an amazing performance
No Op. 3's & 681 quartets?

Haydn: The String Quartets

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Haydn: The Symphonies
Liszt: Piano Works
Haydn: The Complete Piano Sonatas
Haydn: Complete Piano Trios
Chopin: The Piano Works

ASIN: B0000042GO
Release Date: 1997-11-11

Tracks:

String Quartet In E-Flat Major, Op. 0: I. Presto
String Quartet In E-Flat Major, Op. 0: II. Menuetto
String Quartet In E-Flat Major, Op. 0: III. Adagio
String Quartet In E-Flat Major, Op. 0: IV. Menuetto
String Quartet In E-Flat Major, Op. 0: V. Finale: Presto
String Quartet In B-Flat Major, Op. 1 No. 1: I. Presto
String Quartet In B-Flat Major, Op. 1 No. 1: II. Menuetto
String Quartet In B-Flat Major, Op. 1 No. 1: III. Adagio
String Quartet In B-Flat Major, Op. 1 No. 1: IV. Menuetto
String Quartet In B-Flat Major, Op. 1 No. 1: V. Presto
String Quartet In E-Flat Major, Op. 1 No. 2: I. Allegro
String Quartet In E-Flat Major, Op. 1 No. 2: II. Menuetto
String Quartet In E-Flat Major, Op. 1 No. 2: III. Adagio
String Quartet In E-Flat Major, Op. 1 No. 2: IV. Menuetto
String Quartet In E-Flat Major, Op. 1 No. 2: V. Presto
String Quartet In D Major, Op. 1 No. 3: I. Adagio
String Quartet In D Major, Op. 1 No. 3: II. Menuetto
String Quartet In D Major, Op. 1 No. 3: III. Presto
String Quartet In D Major, Op. 1 No. 3: IV. Menuetto
String Quartet In D Major, Op. 1 No. 3: V. Presto

Tracks:

String Quartet In G Major, Op. 1 No. 4: I. Presto
String Quartet In G Major, Op. 1 No. 4: II. Menuetto
String Quartet In G Major, Op. 1 No. 4: III. Adagio Ma Non Tanto
String Quartet In G Major, Op. 1 No. 4: IV. Menuetto
String Quartet In G Major, Op. 1 No. 4: V. Presto
String Quartet In C Major, Op. 1 No. 6: I. Presto Assai
String Quartet In C Major, Op. 1 No. 6: II. Menuetto
String Quartet In C Major, Op. 1 No. 6: III. Adagio
String Quartet In C Major, Op. 1 No. 6: IV. Menuetto
String Quartet In C Major, Op. 1 No. 6: V. Finale: Presto
String Quartet In A Major, Op. 2 No. 1: I. Allegro
String Quartet In A Major, Op. 2 No. 1: II. Menuetto
String Quartet In A Major, Op. 2 No. 1: III. Adagio
String Quartet In A Major, Op. 2 No. 1: IV. Menuetto
String Quartet In A Major, Op. 2 No. 1: V. Allegro Molto

Tracks:

String Quartet In E Major, Op. 2 No. 2: I. Allegro Molto
String Quartet In E Major, Op. 2 No. 2: II. Menuetto
String Quartet In E Major, Op. 2 No. 2: III. Adagio
String Quartet In E Major, Op. 2 No. 2: IV. Menuetto
String Quartet In E Major, Op. 2 No. 2: V. Finale: Presto
String Quartet In F Major, Op. 2 No. 4: I. Presto
String Quartet In F Major, Op. 2 No. 4: II. Menuetto
String Quartet In F Major, Op. 2 No. 4: III. Adagio
String Quartet In F Major, Op. 2 No. 4: IV. Menuetto: Allegretto
String Quartet In F Major, Op. 2 No. 4: V. Allegro
String Quartet In B-Flat Major, Op. 2 No. 6: I. Adagio
String Quartet In B-Flat Major, Op. 2 No. 6: II. Menuetto
String Quartet In B-Flat Major, Op. 2 No. 6: III. Presto: Scherzo
String Quartet In B-Flat Major, Op. 2 No. 6: IV. Menuetto
String Quartet In B-Flat Major, Op. 2 No. 6: V. Presto

Tracks:

String Quartet In C Major, Op. 9 No. 1: I. Moderato
String Quartet In C Major, Op. 9 No. 1: II. Menuetto: Un Poco Allegretto
String Quartet In C Major, Op. 9 No. 1: III. Adagio
String Quartet In C Major, Op. 9 No. 1: IV. Finale: Presto
String Quartet In E-Flat Major, Op. 9 No. 2: I. Moderato
String Quartet In E-Flat Major, Op. 9 No. 2: II. Menuetto
String Quartet In E-Flat Major, Op. 9 No. 2: III. Adagio
String Quartet In E-Flat Major, Op. 9 No. 2: IV. Finale: Allegro Molto
String Quartet In G Major, Op. 9 No. 3: I. Allegro Moderato
String Quartet In G Major, Op. 9 No. 3: II. Menuetto
String Quartet In G Major, Op. 9 No. 3: III. Largo
String Quartet In G Major, Op. 9 No. 3: IV. Finale: Presto

Tracks:

String Quartet In D Minor, Op. 9 No. 4: String Quartet In D Minor, Op. 9 No. 4: I. Moderato
String Quartet In D Minor, Op. 9 No. 4: String Quartet In D Minor, Op. 9 No. 4: II. Menuetto
String Quartet In D Minor, Op. 9 No. 4: String Quartet In D Minor, Op. 9 No. 4: III. Adagio Cantabile
String Quartet In D Minor, Op. 9 No. 4: String Quartet In D Minor, Op. 9 No. 4: IV. Finale: Presto
String Quartet In B-Flat Major, Op. 9 No. 5: String Quarter In B Flat Major, Op. 9 No. 5: I. Poco Adagio
String Quartet In B-Flat Major, Op. 9 No. 5: String Quarter In B Flat Major, Op. 9 No. 5: II. Menuetto: Allegretto
String Quartet In B-Flat Major, Op. 9 No. 5: String Quarter In B Flat Major, Op. 9 No. 5: III. Largo Cantabile
String Quartet In B-Flat Major, Op. 9 No. 5: String Quarter In B Flat Major, Op. 9 No. 5: IV. Finale: Presto
String Quartet In A Major, Op. 9 No. 6: String Quartet In A Major, Op. 9 No. 6: I. Presto
String Quartet In A Major, Op. 9 No. 6: String Quartet In A Major, Op. 9 No. 6: II. Menuetto
String Quartet In A Major, Op. 9 No. 6: String Quartet In A Major, Op. 9 No. 6: III. Adagio
String Quartet In A Major, Op. 9 No. 6: String Quartet In A Major, Op. 9 No. 6: IV. Finale: Presto

Tracks:

String Quartet In E Major, Op. 17 No. 1: I. Moderato
String Quartet In E Major, Op. 17 No. 1: II. Menuet
String Quartet In E Major, Op. 17 No. 1: III. Adagio
String Quartet In E Major, Op. 17 No. 1: IV. Finale: Presto
String Quartet In F Major, Op. 17 No. 2: I. Moderato
String Quartet In F Major, Op. 17 No. 2: II. Menuet: Poco Allegretto
String Quartet In F Major, Op. 17 No. 2: III. Adagio
String Quartet In F Major, Op. 17 No. 2: IV. Finale: Allegro Di Molto
String Quartet In E-Flat Major, Op. 17 No. 3: I. Andante Grazioso
String Quartet In E-Flat Major, Op. 17 No. 3: II. Menuet: Allegretto
String Quartet In E-Flat Major, Op. 17 No. 3: III. Adagio
String Quartet In E-Flat Major, Op. 17 No. 3: IV. Allegro Di Molto

Tracks:

String Quartet In C Minor, Op. 17 No. 4: I. Moderato
String Quartet In C Minor, Op. 17 No. 4: II. Minuet: Allegretto
String Quartet In C Minor, Op. 17 No. 4: III. Adagio Cantabile
String Quartet In C Minor, Op. 17 No. 4: IV. Finale: Allegro
String Quartet In G Major, Op. 17 No. 5: I. Moderato
String Quartet In G Major, Op. 17 No. 5: II. Menuet: Allegretto
String Quartet In G Major, Op. 17 No. 5: III. Adagio
String Quartet In G Major, Op. 17 No. 5: IV. Finale: Presto
String Quartet In D Major, Op. 17 No. 6: I. Presto
String Quartet In D Major, Op. 17 No. 6: II. Menuet
String Quartet In D Major, Op. 17 No. 6: III. Largo
String Quartet In D Major, Op. 17 No. 6: IV. Finale: Allegro

Tracks:

String Quartet In E-Flat Major, Op. 20 No. 1: I. Allegro Moderato
String Quartet In E-Flat Major, Op. 20 No. 1: II. Menuet: Un Poco Allegretto
String Quartet In E-Flat Major, Op. 20 No. 1: III. Affettuoso E Sostenuto
String Quartet In E-Flat Major, Op. 20 No. 1: IV. Presto
String Quartet In C Major, Op. 20 No. 2: I. Moderato
String Quartet In C Major, Op. 20 No. 2: II. Capriccio: Adagio
String Quartet In C Major, Op. 20 No. 2: III. Menuet: Allegretto
String Quartet In C Major, Op. 20 No. 2: IV. Fuga A 4 Soggetti: Allegro
String Quartet In G Minor, Op. 20 No. 3: I. Allegro Con Spirito
String Quartet In G Minor, Op. 20 No. 3: II. Menuet: Allegretto
String Quartet In G Minor, Op. 20 No. 3: III. Poco Adagio
String Quartet In G Minor, Op. 20 No. 3: IV. Allegro Di Molto

Tracks:

String Quartet In D Major, Op. 20 No. 4: I. Allegro Di Molto
String Quartet In D Major, Op. 20 No. 4: II. Un Poco Adagio E Affettuoso
String Quartet In D Major, Op. 20 No. 4: III. Menuet Alla Zingarese
String Quartet In D Major, Op. 20 No. 4: IV. Presto E Scherzando
String Quartet In F Minor, Op. 20 No. 5: I. Moderato
String Quartet In F Minor, Op. 20 No. 5: II. Menuet
String Quartet In F Minor, Op. 20 No. 5: III. Adagio
String Quartet In F Minor, Op. 20 No. 5: IV. Fuga A 2 Soggetti
String Quartet In A Major, Op. 20 No. 6: I. Allegro Di Molto E Scherzando
String Quartet In A Major, Op. 20 No. 6: II. Adagio
String Quartet In A Major, Op. 20 No. 6: III. Menuet
String Quartet In A Major, Op. 20 No. 6: IV. Fuga A 3 Soggetti: Allegro

Tracks:

String Quartet In B Minor, Op. 33 No. 1: I. Allegro
String Quartet In B Minor, Op. 33 No. 1: II. Scherzo: Allegro
String Quartet In B Minor, Op. 33 No. 1: III. Andante
String Quartet In B Minor, Op. 33 No. 1: IV. Presto
String Quartet In E-flat Major, Op. 33 No. 2: I. Allegro moderato, cantabile
String Quartet In E-flat Major, Op. 33 No. 2: II. Scherzo: Allegro
String Quartet In E-flat Major, Op. 33 No. 2: III. Largo sostenuto
String Quartet In E-flat Major, Op. 33 No. 2: IV. Finale: Presto
String Quartet In C Major, op. 33 No. 3: I. Allegro moderato
String Quartet In C Major, op. 33 No. 3: II. Scherzo: Allegretto
String Quartet In C Major, op. 33 No. 3: III. Adagio
String Quartet In C Major, op. 33 No. 3: IV. Rondo: Presto
String Quartet In B-flat Major, Op. 33 No. 4: I. Allegro moderato
String Quartet In B-flat Major, Op. 33 No. 4: II. Scherzo: Allegretto
String Quartet In B-flat Major, Op. 33 No. 4: III. Largo
String Quartet In B-flat Major, Op. 33 No. 4: IV. Presto

Tracks:

String Quartet In G Major, Op. 33 No. 5: I. Vivace Assai
String Quartet In G Major, Op. 33 No. 5: II. Largo E Cantabile
String Quartet In G Major, Op. 33 No. 5: III. Scherzo: Allegro
String Quartet In G Major, Op. 33 No. 5: IV. Finale: Allegretto
String Quartet In D Major, Op. 33 No. 6: I. Vivace Assai
String Quartet In D Major, Op. 33 No. 6: II. Andante
String Quartet In D Major, Op. 33 No. 6: III. Scherzo: Allegretto
String Quartet In D Major, Op. 33 No. 6: IV. Finale: Allegretto
String Quartet In D Minor, Op. 42: I. Andante Ed Innocentemente
String Quartet In D Minor, Op. 42: II. Menuet
String Quartet In D Minor, Op. 42: III. Adagio E Cantabile
String Quartet In D Minor, Op. 42: IV. Finale: Presto
String Quartet In B-Flat Major, Op. 50 No. 1: I. Allegro
String Quartet In B-Flat Major, Op. 50 No. 1: II. Adagio Non Lento
String Quartet In B-Flat Major, Op. 50 No. 1: III. Poco Allegretto
String Quartet In B-Flat Major, Op. 50 No. 1: IV. Finale: Vivace

Tracks:

String Quartet In C Major, Op. 50 No. 2: I. Vivace
String Quartet In C Major, Op. 50 No. 2: II. Adagio Cantabile
String Quartet In C Major, Op. 50 No. 2: III. Menuetto: Allegretto
String Quartet In C Major, Op. 50 No. 2: IV. Finale: Vivace Assai
String Quartet In E-Flat Major, Op. 50 No. 3: I. Allegro Con Brio
String Quartet In E-Flat Major, Op. 50 No. 3: II. Andante Piu Tosto Allegretto
String Quartet In E-Flat Major, Op. 50 No. 3: III. Menuetto: Allegretto
String Quartet In E-Flat Major, Op. 50 No. 3: IV. Finale: Presto
String Quartet In F-Sharp Minor, Op. 50 No. 4: I. Allegro Spirituoso
String Quartet In F-Sharp Minor, Op. 50 No. 4: II. Andante
String Quartet In F-Sharp Minor, Op. 50 No. 4: III. Menuetto
String Quartet In F-Sharp Minor, Op. 50 No. 4: IV. Fuga: Allegro Moderato

Tracks:

String Quartet In F Major, Op. 50 No. 5: I. Allegro Moderato
String Quartet In F Major, Op. 50 No. 5: II. Poco Adagio
String Quartet In F Major, Op. 50 No. 5: III. Menuetto
String Quartet In F Major, Op. 50 No. 5: IV. Finale: Vivace
String Quartet In D Major, Op. 50 No. 6: I. Allegro
String Quartet In D Major, Op. 50 No. 6: II. Poco Adagio
String Quartet In D Major, Op. 50 No. 6: III. Menuetto: Allegretto
String Quartet In D Major, Op. 50 No. 6: IV. Finale: Allegro Con Spirito
String Quartet In G Major, Op. 54 No. 1: I. Vivace Assai
String Quartet In G Major, Op. 54 No. 1: II. Allegretto
String Quartet In G Major, Op. 54 No. 1: III. Menuet
String Quartet In G Major, Op. 54 No. 1: IV. Vivace

Tracks:

String Quartet In C Major, Op. 54 No. 2: I. Vivace
String Quartet In C Major, Op. 54 No. 2: II. Adagio
String Quartet In C Major, Op. 54 No. 2: III. Menuetto: Allegretto
String Quartet In C Major, Op. 54 No. 2: IV. Adagio
String Quartet In E Major, Op. 54 No. 3: I. Allegretto
String Quartet In E Major, Op. 54 No. 3: II. Largo
String Quartet In E Major, Op. 54 No. 3: III. Menuetto: Allegretto
String Quartet In E Major, Op. 54 No. 3: IV. Finale: Presto
String Quartet In A Major, Op. 55 No. 1: I. Allegro
String Quartet In A Major, Op. 55 No. 1: II. Adagio cantabile
String Quartet In A Major, Op. 55 No. 1: III. Menuet
String Quartet In A Major, Op. 55 No. 1: IV. Finale: Vivace

Tracks:

String Quartet In F Minor, Op. 55 No. 2: I. Andante
String Quartet In F Minor, Op. 55 No. 2: II. Allegro
String Quartet In F Minor, Op. 55 No. 2: III. Menuetto: Allegretto
String Quartet In F Minor, Op. 55 No. 2: IV. Presto
String Quartet In B-Flat Major, Op. 55 No. 3: I. Vivace Assai
String Quartet In B-Flat Major, Op. 55 No. 3: II. Adagio ma non troppo
String Quartet In B-Flat Major, Op. 55 No. 3: III. Menuetto
String Quartet In B-Flat Major, Op. 55 No. 3: IV. Presto
String Quartet In C Major, Op. 64 No. 1: I. Allegro moderato
String Quartet In C Major, Op. 64 No. 1: II. Menuet: Allegro ma non troppo
String Quartet In C Major, Op. 64 No. 1: III. Allegretto scherzando
String Quartet In C Major, Op. 64 No. 1: IV. Finale: Presto

Tracks:

String Quartet In B Minor, Op. 64 No. 2: I. Allegro spiritoso
String Quartet In B Minor, Op. 64 No. 2: II. Adagio ma non troppo
String Quartet In B Minor, Op. 64 No. 2: III. Menuetto
String Quartet In B Minor, Op. 64 No. 2: IV. Finale: Presto
String Quartet In B Flat Major, Op. 64 No. 3: I. Vivace assai
String Quartet In B Flat Major, Op. 64 No. 3: II. Adagio
String Quartet In B Flat Major, Op. 64 No. 3: III. Menuet: Allegretto
String Quartet In B Flat Major, Op. 64 No. 3: IV. Finale: Allegro con spirito
String Quartet In G Major, Op. 64 No. 4: I. Allegro con brio
String Quartet In G Major, Op. 64 No. 4: II. Menuetto and Trio
String Quartet In G Major, Op. 64 No. 4: III. Adagio cantabile sostenuto
String Quartet In G Major, Op. 64 No. 4: IV. Finale: Presto
String Quartet In D Major, Op. 64 No. 5: I. Allegro moderato
String Quartet In D Major, Op. 64 No. 5: II. Adagio
String Quartet In D Major, Op. 64 No. 5: III. Menuet: Allegretto
String Quartet In D Major, Op. 64 No. 5: IV. Finale: Vivace

Tracks:

String Quartet In E-Flat Major, Op. 64 No. 6: I. Allegro
String Quartet In E-Flat Major, Op. 64 No. 6: II. Andante
String Quartet In E-Flat Major, Op. 64 No. 6: III. Menuetto: Allegretto
String Quartet In E-Flat Major, Op. 64 No. 6: IV. Finale: Presto
String Quartet In B-Flat Major, Op. 71 No. 1: I. Allegro
String Quartet In B-Flat Major, Op. 71 No. 1: II. Adagio
String Quartet In B-Flat Major, Op. 71 No. 1: III. Menuetto: Allegretto
String Quartet In B-Flat Major, Op. 71 No. 1: IV. Vivace
String Quartet In D Major, Op. 71 No. 2: I. Adagio; Allegro
String Quartet In D Major, Op. 71 No. 2: II. Adagio cantabile
String Quartet In D Major, Op. 71 No. 2: III. Menuetto: Allegro
String Quartet In D Major, Op. 71 No. 2: IV. Finale: Allegretto - Vivace

Tracks:

String Quartet In E-Flat Major, Op. 71 No. 3: I. Vivace
String Quartet In E-Flat Major, Op. 71 No. 3: II. Andante con moto
String Quartet In E-Flat Major, Op. 71 No. 3: III. Menuetto
String Quartet In E-Flat Major, Op. 71 No. 3: IV. Finale: Vivace
String Quartet In C Major, Op. 74 No. 1: I. Allegro moderato
String Quartet In C Major, Op. 74 No. 1: II. Andantino grazioso
String Quartet In C Major, Op. 74 No. 1: III. Menuetto: Allegretto
String Quartet In C Major, Op. 74 No. 1: IV. Finale: Vivace
String Quartet In F Major, Op. 74 No. 2: I. Allegro spiritoso
String Quartet In F Major, Op. 74 No. 2: II. Andante grazioso
String Quartet In F Major, Op. 74 No. 2: III. Menuetto: Allegro
String Quartet In F Major, Op. 74 No. 2: IV. Finale: Presto

Tracks:

String Quartet In G Minor, Op. 74 No. 3: I. Allegro
String Quartet In G Minor, Op. 74 No. 3: II. Largo assai
String Quartet In G Minor, Op. 74 No. 3: III. Menuetto and Trio: Allegretto
String Quartet In G Minor, Op. 74 No. 3: IV. Finale: Allegro con brio
String Quartet In G Major, Op. 76 No. 1: I. Allegro con spirito
String Quartet In G Major, Op. 76 No. 1: II. Adagio sostenuto
String Quartet In G Major, Op. 76 No. 1: III. Menuetto: Presto
String Quartet In G Major, Op. 76 No. 1: IV. Allegro ma non troppo
String Quartet In D Minor, Op. 76 No. 2: I. Allegro
String Quartet In D Minor, Op. 76 No. 2: II. Andante o piu tosto allegretto
String Quartet In D Minor, Op. 76 No. 2: III. Menuetto: Allegro ma non troppo
String Quartet In D Minor, Op. 76 No. 2: IV. Vivace assai
String Quartet In D Minor, Op. 103 (Unfinished): II. Andante grazioso
String Quartet In D Minor, Op. 103 (Unfinished): III. Menuetto ma non troppo presto

Tracks:

String Quartet In C Major, Op. 76 No. 3: I. Allegro
String Quartet In C Major, Op. 76 No. 3: II. Poco adagio, cantabile
String Quartet In C Major, Op. 76 No. 3: III. Menuetto: Allegro
String Quartet In C Major, Op. 76 No. 3: IV. Finale: Presto
String Quartet In B-Flat Major, Op. 76 No. 4: I. Allegro con spirito
String Quartet In B-Flat Major, Op. 76 No. 4: II. Adagio
String Quartet In B-Flat Major, Op. 76 No. 4: III. Menuetto: Allegro
String Quartet In B-Flat Major, Op. 76 No. 4: IV. Finale: Allegro ma non troppo
String Quartet In D Major, Op. 76 No. 5: I. Allegretto
String Quartet In D Major, Op. 76 No. 5: II. Largo ma non troppo: Cantabile e mesto
String Quartet In D Major, Op. 76 No. 5: III. Menuetto: Allegro
String Quartet In D Major, Op. 76 No. 5: IV. Finale: Presto

Tracks:

String Quartet In E-Flat Major, Op. 76 No. 6: I. Allegretto; Allegro
String Quartet In E-Flat Major, Op. 76 No. 6: II. Fantasia: Adagio
String Quartet In E-Flat Major, Op. 76 No. 6: III. Menuetto: Presto
String Quartet In E-Flat Major, Op. 76 No. 6: IV. Finale: Allegro spirituoso
String Quartet In G Major, Op. 77 No. 1: I. Allegro moderato
String Quartet In G Major, Op. 77 No. 1: II. Adagio
String Quartet In G Major, Op. 77 No. 1: III. Menuetto: Presto
String Quartet In G Major, Op. 77 No. 1: IV. Finale: Presto
String Quartet In F Major, Op. 77 No. 2: I. Allegro moderato
String Quartet In F Major, Op. 77 No. 2: II. Menuetto: Presto ma non troppo
String Quartet In F Major, Op. 77 No. 2: III. Andante
String Quartet In F Major, Op. 77 No. 2: IV. Finale: Vivace assai

Tracks:

The Seven Last Words Of Our Saviour On The Cross, Op. 51: Introduzione: Maestoso ed adagio
The Seven Last Words Of Our Saviour On The Cross, Op. 51: A Hymne To Christ
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Sonata I: Adagio
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Prayer - A Dialogue Between Christian And Death
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Sonata II: Grave e cantabile
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Good Friday: Rex tragicus
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Sonata III: Grave
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Who Cannot Weep, Come Learn At Me
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Sonata IV: Largo
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Still Falls The Rain (The Raids, 1940. Night And Dawn)
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Sonata V: Adagio
The Seven Last Words Of Our Saviour On The Cross, Op. 51: The Killing
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Sonata VI: Lento
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Tenebrae - Kyrie
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Sonata VII: Largo
The Seven Last Words Of Our Saviour On The Cross, Op. 51: Il Terremoto: Presto e con tutta la forza

Amazon.com

These works, along with the Haydn symphonies, are the most important and revolutionary works in the history of Western music. Haydn was the true inventor of the string quartet, and his 681 or 682 examples of the form have never, as a body, been equaled. They span his entire life, from the 1750s straight through to 1803, and without them the chamber music achievements of Mozart, Beethoven, Schubert--and everyone who came later--would have been unthinkable. These works set the standard, and they still do. These performances, if not the last work in polish, are lively and affectionate. What's more, they wear easily on the ear, which is important because, once you start listening, you won't want to stop. --David Hurwitz

Customer Reviews:

Lively, colourful.......2005-06-02

If you are going to have only one set of Haydn's collected string quartets, this is a strong candidate. These are lively, colourful performances, not always as balanced and classical as the Tatrai set, but with much, much better sound quality. If you don't care for production values, you could of course go for Tatrai; if you need a reasonably good sound, I guess Aeolian is the best of the spirited performances. Even if I have the Tatrai set, I find that the Aeolian set conveys additional qualities of the music. (Both the Angeles set and the Kodaly set leave me indifferent. )

Sizzles!.......2003-06-08

We had an unexpected baby - cutting a long story short, he was premature, tinier than anything I had seen before, and thinking he would not be with us for long, we actually bought this set for him. Silly really. I really knew the quartets only by reputation, and thought that he could hear just a little bit of music in this world, he would be happy for that short space...
Flash to two year later. My goodness, he is big and strong. He adores Haydn. He loves Beethoven and Bach. He dances to everything, even the beeping sound from the traffic lights, for goodness sake! This music has made him very musically aware, we know he is pitch perfect now, he can sing half a dozen film themes, and does it in the right key. He's half mad most of the time, but lovely and splendid in his small way.

Haydn was in love all his life. He knew some sort of joy which I have dimly seen. This joy shatters every vessel it tries to fill, comes from outside the world, but spends serious time in it, pestering the life out of those who have ears to hear. You might hear it here. Particularly in the first disc, which Jonathon knows off by heart now. Usually by track 12 he is sound asleep.

I really recommend this. I wish I could buy a few tens of these and give them away to quite a few people I know, but alas, I'm still paying for the first box! (Only joking)

just an amazing performance.......2001-08-08

If you are a chamber music lover you should buy this set, more than 22 hours of the truly best quartet music ever. The Aeolian is just supreme. Don't think about the price. If you want to impove your clasical CD collection, well buy it.

just an amazing performance.......2001-08-08

No Op. 3's & 681 quartets?.......2000-11-22

The likely reason the Op. 3's are not included in this package is due to the fact that they are often attributed to R. Hofstetter instead of Papa Haydn himself. Also the typo in the staff review was probably meant to read 68 or 68 1/2 (the 1/2 referring to the final unfinished quartet Op. 103). Whether you attribute the Op. 3's to Haydn or not, the actual count is around 70, making this a very substantial, if not complete, set of Haydn quartets.

Georgy Sviridov: A Russia Flying Away; Boris Tchaikovsky: The Last Spring

Average customer rating:

Georgy Sviridov: A Russia Flying Away; Boris Tchaikovsky: The Last Spring

Manufacturer: Northern Flowers
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000BRP228
Release Date: 2005-11-29

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