Bizet Orchestral Works
From a HMV ASD388 (4/61), b ASD252 (2/59)
View record and artist detailsRecord and Artist Details
Composer or Director: Erik Satie
Label: Great Recordings of the Century
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 72
Mastering:
ADD
Catalogue Number: 567239-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (3) Gymnopédies |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer |
| (6) Gnossiennes |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer |
| Croquis et agaceries d'un gros bonhomme en bois |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer |
| Embryons desséchés |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer |
| Sonatine bureaucratique |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer |
| Avant-dernières pensées |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer |
| (3) Véritables préludes flasques |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer |
| (5) Nocturnes |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer |
| Morceaux en forme de poire, 'Pieces in the shape of a Pear' |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer Gabriel Tacchino, Piano |
| (La) Belle excentrique |
Erik Satie, Composer
Aldo Ciccolini, Piano Erik Satie, Composer Gabriel Tacchino, Piano |
Composer or Director: Gustav Mahler
Label: Great Recordings of the Century
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 50
Mastering:
ADD
Catalogue Number: 567236-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Lieder aus 'Das Knaben Wunderhorn', Movement: Wo die schönen Trompeten blasen |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Lob des hohen Verstandes |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Revelge |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Der Tamboursg'sell |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Der Schildwache Nachtlied |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Verlor'ne Müh |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Trost im Unglück |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Wer hat dies Liedlein erdacht? |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Das irdische Leben |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Des Antonius von Padua Fischpredigt |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Rheinlegendchen |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
| Lieder aus 'Das Knaben Wunderhorn', Movement: Lied des Verfolgten im Turm |
Gustav Mahler, Composer
Dietrich Fischer-Dieskau, Baritone Elisabeth Schwarzkopf, Soprano George Szell, Conductor Gustav Mahler, Composer London Symphony Orchestra |
Composer or Director: Fryderyk Chopin
Label: Great Recordings of the Century
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 71
Mastering:
ADD
Catalogue Number: 567232-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Piano and Orchestra No. 1 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Louis Frémaux, Conductor Monte Carlo National Opera Orchestra Samson François, Piano |
| Concerto for Piano and Orchestra No. 2 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Louis Frémaux, Conductor Monte Carlo National Opera Orchestra Samson François, Piano |
Composer or Director: Nicolò Paganini
Genre:
Instrumental
Label: Great Recordings of the Century
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 72
Mastering:
ADD
Catalogue Number: 567237-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (24) Caprices |
Nicolò Paganini, Composer
Itzhak Perlman, Violin Nicolò Paganini, Composer |
Composer or Director: Edward Elgar, Ralph Vaughan Williams
Label: Great Recordings of the Century
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 58
Mastering:
ADD
Catalogue Number: 567240-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Introduction and Allegro |
Edward Elgar, Composer
Allegri Quartet Edward Elgar, Composer John Barbirolli, Conductor Sinfonia of London |
| Serenade |
Edward Elgar, Composer
Edward Elgar, Composer John Barbirolli, Conductor Sinfonia of London |
| Elegy |
Edward Elgar, Composer
Edward Elgar, Composer John Barbirolli, Conductor New Philharmonia Orchestra |
| Sospiri |
Edward Elgar, Composer
Edward Elgar, Composer John Barbirolli, Conductor New Philharmonia Orchestra |
| Fantasia on a Theme by Thomas Tallis |
Ralph Vaughan Williams, Composer
John Barbirolli, Conductor Ralph Vaughan Williams, Composer Sinfonia of London |
| Fantasia on 'Greensleeves' |
Ralph Vaughan Williams, Composer
John Barbirolli, Conductor Ralph Vaughan Williams, Composer Sinfonia of London |
Composer or Director: Sergey Rachmaninov, Maurice Ravel
Genre:
Orchestral
Label: EMI
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 47
Mastering:
ADD
Catalogue Number: 567238-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Piano and Orchestra No. 4 |
Sergey Rachmaninov, Composer
Arturo Benedetti Michelangeli, Piano Ettore Gracis, Conductor Philharmonia Orchestra Sergey Rachmaninov, Composer |
| Concerto for Piano and Orchestra |
Maurice Ravel, Composer
Arturo Benedetti Michelangeli, Piano Ettore Gracis, Conductor Maurice Ravel, Composer Philharmonia Orchestra |
Composer or Director: Claude Debussy
Label: Great Recordings of the Century
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 71
Mastering:
Mono
ADD
Catalogue Number: 567233-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (24) Préludes |
Claude Debussy, Composer
Claude Debussy, Composer Walter Gieseking, Piano |
Composer or Director: Joseph Haydn
Label: Great Recordings of the Century
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 50
Mastering:
ADD
Catalogue Number: 567234-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Cello and Orchestra No. 1 |
Joseph Haydn, Composer
Academy of St Martin in the Fields Joseph Haydn, Composer Mstislav Rostropovich, Cello |
| Concerto for Cello and Orchestra No. 2 |
Joseph Haydn, Composer
Academy of St Martin in the Fields Joseph Haydn, Composer Mstislav Rostropovich, Cello |
Composer or Director: Georges Bizet
Genre:
Orchestral
Label: EMI
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 65
Mastering:
ADD
Catalogue Number: 567231-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Symphony |
Georges Bizet, Composer
French National Radio Symphony Orchestra Georges Bizet, Composer Thomas Beecham, Conductor |
| (L')Arlésienne - Suites |
Georges Bizet, Composer
Georges Bizet, Composer Royal Philharmonic Orchestra Thomas Beecham, Conductor |
Composer or Director: Gustav Mahler
Genre:
Orchestral
Label: Great Recordings of the Century
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 79
Mastering:
ADD
Catalogue Number: 567235-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Symphony No. 2, 'Resurrection' |
Gustav Mahler, Composer
Elisabeth Schwarzkopf, Soprano Gustav Mahler, Composer Hilde Rössl-Majdan, Mezzo soprano Otto Klemperer, Conductor Philharmonia Chorus Philharmonia Orchestra |
Author: Ivan March
Most CD catalogue numbers these days are international, but EMI's Great Recordings of the Century are a rare exception. For copyright reasons, and like previous issues in this distinguished series, they are illustrated with the Dog and Trumpet logo in the UK, and with the Angel in the USA. The catalogue numbers are therefore different, too, and for the benefit of American readers, the domestic US numbers are also given in the header details.
It hardly needs restating that Beecham had a special feeling for French music, and his recording of theL'Arlesienne suites, dating from the earliest days of stereo (1956), remains one of the finest examples. His group of RPO wind soloists - Gerald Jackson, Terence McDonagh, Jack Brymer, Gwydion Brooke, and not forgetting Walter Lear's beautiful saxophone solo - together and singly create a glowing palette of colour, while the characteristic Beecham rhythmic swagger points up the dotted opening march (a traditional Provencal melody). He also gives the Minuet a light-hearted rhythmic lift (I can always picture him conducting this movement), which contrasts with a wonderfully tender Adagietto and the infectious exhilaration of the closing 'Farandole'.
The Symphony, recorded in Paris three years later, has slightly less orchestral finesse, but hardly less zest and a wonderful sense of enjoyment. The players of the French Radio orchestra were quickly won over by Beecham's charisma. 'C'est un dieu, 'responded their leader (as reported by Lyndon Jenkins in the excellent notes), and the solo oboe in the slow movement is carried aloft by Beecham's encouraging glance. The Scherzo swings along, and to cap the fizzing finale there is, again to quote Jenkins, the final Beechamesque flourish on the last two chords: 'That's that!' The remastering is excellently managed:L'Arlesienne sounds warmer and fresher than it ever did on LP.
The choice of the Chopin piano concertos obviously came from French EMI. Samson Francois plays well and provides glittering yet poetically flexible passagework in the finales. Both slow movements are sensitively played and Fremaux keeps the accompaniments vivaciously alive and flowing throughout. But these are not 'Great Recordings', especially since Pollini's HMV version of the E minor (No 1) is available for comparison (11/92).
Walter Gieseking's set of both Books of the Debussy Preludes is a different matter - one of the great classics of the gramophone. The individual insights are endless, so is the extraordinary feeling for the music's evocation and atmosphere. The 1953-54 recordings just missed the stereo era, but the Abbey Road mono sound is first-class. I thought Walter Legge had produced both Books, but no, Geraint Evans was responsible for Book 1. There is very little appreciable sonic difference.
'Glorious John's' (to quote VW himself) 1962 collection of 'English String Music' has been continually in the catalogue, on LP, cassette or CD, since it first appeared, and now steps down into the mid-price arena for the first time. It is, in my view, Barbirolli's finest record, and the orchestral playing and recording are equally superb. Whether in the gutsy and passionate Elgar Introduction and Allegro, the warmly nostalgic Serenade, with its touching Larghetto, or the thrilling account of the Vaughan Williams Tallis Fantasia - with wonderfully ethereal playing from the second group and radiant string soloists - this is unforgettable music-making, caught on the wing. Elgar's cherishable Elegy and Sospiri have been more recently added to the programme, and the new transfer is, if anything, better than ever.
Rostropovich's larger-than-life coupling of the two Haydn cello concertos is more controversial. He also conducts the accompaniments, so is able to indulge himself with ardently romantic lyricism and fantastically brilliant playing in allegros. Haydn would surely have been amazed. But a little less emoting and a little more poise would have improved these interpretations. Even so, their sheer personality makes them easy to enjoy.
The two Mahler offerings are self- recommending. Klemperer's performances are perhaps less fashionable today than they were in the 1960s, but his Mahler Second is surely recommendable to any Mahlerian, particularly as it comes complete on a single CD. The reading, with the opening movement pressed forward strongly, is intense and concentrated; and the closing section of the last movement (which, incidentally, is generously cued), where Klemperer's approach is determinedly spacious, is almost overwhelming, first in its sense of mystery, then in its serenity and joy. And the Philharmonia Chorus and soloists sing transcendently. The recording is full and clear. A remarkable bargain.
Szell's 1968 Des Knaben Wunderhorn, with Schwarzkopf and Fischer-Dieskau (recorded, like the Resurrection Symphony, in Kingsway Hall) is indispensable. Remembering Szell's justly famous Cleveland recording of the Fourth Symphony (CBS/Sony), it is not surprising that he is equally magnetic here. Try Fischer-Dieskau's very opening number (Revelge), the warmly lilting strings which introduce Schwarzkopf's delightful Rheinlegendchen or the haunting drum beats ofDer Tamboursg'sell. Of course, the singing is incomparable, too. Des Knaben Wunderhorn was the first Mahler I ever heard (I think it was an old Vox recording) and, for me, it remains among his greatest music. This disc is fully worthy of it.
I need say little about Perlman's complete set of Paganini's 24 solo Caprices, Op 1. Surely Paganini himself would have admired their dazzling bravura and infinite care with bowing detail. As always with this artist the (analogue) recording is closely balanced, and therefore has an extremely vivid presence.
Michelangeli's legendary coupling of the Rachmaninov Fourth Piano Concerto with the Ravel G major is another record which has been in the catalogue since the late 1950s, and no wonder. It is not only the pianist's finest record, but neither performance has since been surpassed. Indeed, the Rachmaninov Fourth stands alone, even above the composer's own recording. Just listen to the surgingly romantic opening, or the delicately refined treatment of the Largo - in particular, the quite magical and warmly lyrical handling of its Three blind mice theme. Then, with a flick of the whip, turn to the transparent tracery and incandescent vigour of the first movement of the Ravel; the following Adagio is utterly haunting - 'cool' only as jazz defines the word - and with an exquisite later entry from the solo flute as Gracis and the orchestra capture the pianist's sense of gentle rapture. The glittering, unstoppable energy of the finale completes one of the most remarkable and inspired performances of any concerto on record, and the HMV sound is miraculously clear and glowing.
Aldo Ciccolini's 72-minute anthology of the piano music of Satie (he is joined by Gabriel Tacchino in the four-handed pieces) was obviously a French choice, and very good it is. The Gymnopedies and Gnossiennes have the requisite nostalgia and melancholy and the sharply articulated pieces (the Embryons desseches and the ironic Sonatine bureaucratique) are played with articulate brilliance and a nice touch of wit. TheAvant-dernieres pensees and the Cinq nocturnes are beautifully done. The recording - made in the Salle Wagram with the microphones a shade close - can be hard at times (the opening of the Veritables preludes flasques), but it is otherwise faithful. A distinguished reissue.'
It hardly needs restating that Beecham had a special feeling for French music, and his recording of the
The Symphony, recorded in Paris three years later, has slightly less orchestral finesse, but hardly less zest and a wonderful sense of enjoyment. The players of the French Radio orchestra were quickly won over by Beecham's charisma. 'C'est un dieu, 'responded their leader (as reported by Lyndon Jenkins in the excellent notes), and the solo oboe in the slow movement is carried aloft by Beecham's encouraging glance. The Scherzo swings along, and to cap the fizzing finale there is, again to quote Jenkins, the final Beechamesque flourish on the last two chords: 'That's that!' The remastering is excellently managed:
The choice of the Chopin piano concertos obviously came from French EMI. Samson Francois plays well and provides glittering yet poetically flexible passagework in the finales. Both slow movements are sensitively played and Fremaux keeps the accompaniments vivaciously alive and flowing throughout. But these are not 'Great Recordings', especially since Pollini's HMV version of the E minor (No 1) is available for comparison (11/92).
Walter Gieseking's set of both Books of the Debussy Preludes is a different matter - one of the great classics of the gramophone. The individual insights are endless, so is the extraordinary feeling for the music's evocation and atmosphere. The 1953-54 recordings just missed the stereo era, but the Abbey Road mono sound is first-class. I thought Walter Legge had produced both Books, but no, Geraint Evans was responsible for Book 1. There is very little appreciable sonic difference.
'Glorious John's' (to quote VW himself) 1962 collection of 'English String Music' has been continually in the catalogue, on LP, cassette or CD, since it first appeared, and now steps down into the mid-price arena for the first time. It is, in my view, Barbirolli's finest record, and the orchestral playing and recording are equally superb. Whether in the gutsy and passionate Elgar Introduction and Allegro, the warmly nostalgic Serenade, with its touching Larghetto, or the thrilling account of the Vaughan Williams Tallis Fantasia - with wonderfully ethereal playing from the second group and radiant string soloists - this is unforgettable music-making, caught on the wing. Elgar's cherishable Elegy and Sospiri have been more recently added to the programme, and the new transfer is, if anything, better than ever.
Rostropovich's larger-than-life coupling of the two Haydn cello concertos is more controversial. He also conducts the accompaniments, so is able to indulge himself with ardently romantic lyricism and fantastically brilliant playing in allegros. Haydn would surely have been amazed. But a little less emoting and a little more poise would have improved these interpretations. Even so, their sheer personality makes them easy to enjoy.
The two Mahler offerings are self- recommending. Klemperer's performances are perhaps less fashionable today than they were in the 1960s, but his Mahler Second is surely recommendable to any Mahlerian, particularly as it comes complete on a single CD. The reading, with the opening movement pressed forward strongly, is intense and concentrated; and the closing section of the last movement (which, incidentally, is generously cued), where Klemperer's approach is determinedly spacious, is almost overwhelming, first in its sense of mystery, then in its serenity and joy. And the Philharmonia Chorus and soloists sing transcendently. The recording is full and clear. A remarkable bargain.
Szell's 1968 Des Knaben Wunderhorn, with Schwarzkopf and Fischer-Dieskau (recorded, like the Resurrection Symphony, in Kingsway Hall) is indispensable. Remembering Szell's justly famous Cleveland recording of the Fourth Symphony (CBS/Sony), it is not surprising that he is equally magnetic here. Try Fischer-Dieskau's very opening number (Revelge), the warmly lilting strings which introduce Schwarzkopf's delightful Rheinlegendchen or the haunting drum beats of
I need say little about Perlman's complete set of Paganini's 24 solo Caprices, Op 1. Surely Paganini himself would have admired their dazzling bravura and infinite care with bowing detail. As always with this artist the (analogue) recording is closely balanced, and therefore has an extremely vivid presence.
Michelangeli's legendary coupling of the Rachmaninov Fourth Piano Concerto with the Ravel G major is another record which has been in the catalogue since the late 1950s, and no wonder. It is not only the pianist's finest record, but neither performance has since been surpassed. Indeed, the Rachmaninov Fourth stands alone, even above the composer's own recording. Just listen to the surgingly romantic opening, or the delicately refined treatment of the Largo - in particular, the quite magical and warmly lyrical handling of its Three blind mice theme. Then, with a flick of the whip, turn to the transparent tracery and incandescent vigour of the first movement of the Ravel; the following Adagio is utterly haunting - 'cool' only as jazz defines the word - and with an exquisite later entry from the solo flute as Gracis and the orchestra capture the pianist's sense of gentle rapture. The glittering, unstoppable energy of the finale completes one of the most remarkable and inspired performances of any concerto on record, and the HMV sound is miraculously clear and glowing.
Aldo Ciccolini's 72-minute anthology of the piano music of Satie (he is joined by Gabriel Tacchino in the four-handed pieces) was obviously a French choice, and very good it is. The Gymnopedies and Gnossiennes have the requisite nostalgia and melancholy and the sharply articulated pieces (the Embryons desseches and the ironic Sonatine bureaucratique) are played with articulate brilliance and a nice touch of wit. The
Satie Piano Works
Mahler Das Knaben Wunderhorn
CHOPIN Piano Concertos 1 & 2
Paganini Caprices
Elgar & Vaughan Williams String Orchestra Works
RACHMANINOV & RAVEL Piano Concertos
Debussy Préludes 1 & 2
Haydn Cello Concertos 1 & 2
BIZET Orchestral Works
Mahler Symphony 2
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