Classical The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. Thu, 24 May 2018 19:28:53 +0000 Joomla! 1.5 - Open Source Content Management en-gb Friedrich Kuhlau – Lulu (1988) Friedrich Kuhlau – Lulu (1988)

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Disc: 1
1. Ov - Danish Radio Orch/Michael Schonwandt			play
2. Act One, No.1: Intro: See Her, Og Der/Himmel Frels Os/Bryd! Juble Din Kjaede - Danish Radio Chor/Kim Von Binzer/Tina Kiberg
3. Act One, No.2: Cavatina Con Chor: Nei, Vilde Jaeger - Tina Kiberg/Danish Radio Chor
4. Act One, No.3: Duettino Con Chor: Hvi Skjaelver Saa Din Stemme? - Risto Saarman/Tina Kibert/Danish Radio Chor
5. Act One, No.4: Aria Con Chor: Hoit Svulmer Mit Hjerte/Hist I Skumle Faengsel/Din Ild Os Besjaeler.. - Risto Saarman/Danish Radio Chor/Tina Kibert
6. Act One, No.5: Cavatina: Omdufted Af Venlige Dale - Risto Saarman
7. Act One, No.6: Finale: Naar Moen Bliver Kone/Fjeld! Begrav Mig!/Milde Soel, Hvor Er Din Lue?... - Eriko Harbo/Anne Frellesvig/Ulrik Cold/
Risto Saarman/Hedwig Rummel/Birgitte Friboe/Hanne Orvad
Disc: 2 1. Act Two, No.7: Intro: Lystigt Omkring I Susende Ring!/Flojtesolo - Danish Radio Chor/Bodil Oland 2. Act Two, No.8: Spinnlied Der Hexen: Slukken AEdderkop Sidder Paa Tue - Hedwig Rummel/Birgitte Friboe/Danish Radio Chor/Hanne Orvad/Erik Harbo play 3. Act Two, No.9: Qt: Moder! Horer Jeg Din Rost?/Flojtesolo/Om Dit Eden Svaever Freden/Omt Hvad... - Anne Frellesvig/Risto Saarman/Erik Harbo/Ulrik Cold 4. Act Two, No.10: Duetto: Hvor Hun Er Skjon!/Rolig Hulde, Rolig!/Ubesindige/Hvis Du Kunde Mig... - Anne Frellesvig/Risto Saarman 5. Act Two, No.11: Scena Con Chor: Horer I Sylfer!/Dig Vi Adlyde - Ulrik Cold/Danish Radio Chor 6. Act Two, No.12: Duetto: O, Mindes Du, Naar Hyrdens Toner/Og Naar I Glands Af Stjernevrimlen - Tina Kiberg/Anne Frellesvig 7. Act Two, No.13: Finale: O, Kunde Blot Jeg Give/Flojtesolo/O Sode Tone - Risto Saarman/Erik Harbo/Danish Radio Chor Disc: 3 1. Act Three, No.14: Intro Ed Aria: Ak, Nei! - Anne Frellesvig 2. Act Three, No.15: Aria: Klang Fra Aandedalens Zone - Anne Frellesvig 3. Act Three, No.16: Marcia Con Chor: Vi Duftende Frugter Dig Bringer - Danish Radio Chor 4. Act Three, No.17: Trinklied Mit Chor Und Tanz: Kloden Maatte Styrte Sammen - Erik Harbo/Danish Radio Chor/Ulrik Cold play 5. Act Three, No.18: Finale/Melodrama: Hvilken Klagende Klang/Tak Kjaere Flojte/Ha Hvad Seer... - Ulrik Cold/Anne Frellesvig/Tina Kiberg/Erik Harbo/
Danish Radio Chor/Michael Schonwandt/Lane Lind
Performer: Risto Saarman – Lulu Anne Frellesvig – Sidi Tina Kiberg – Vela Ulrik Cold – Dilfeng Erik Harbo – Barca Kim von Binzer – A Shepherd Hjørdis Jakobsen – A Water Elf Bodil Øland – A Black Elf Hedwig Rummel – First Witch Birgitte Friboe – Second Witch Hanne Ørvad – Third Witch Lane Lind – Periferihme Danish Radio Symphony Orchestra, Danish Radio Chorus Michael Schonwandt – conductor Friedrich Kuhlau Opera: Lulu, romantic opera in three Acts, 0p.65, Libretto: Carl Christian Frederik Güntelberg First performance 29 October, 1824, Royal Opera house, Copenhagen.


The great magic opera Lulu from 1824, Kuhlau's operatic masterwork, is based on the same source as Mozart's Die Zauberföte, namely the fairy-tale Lulu, oder Die Zauberflöte in CM Wieland's collection Dschinnistan. The Persian prince prince Lulu is the equivalent to Tamino who sets Sidi (Pamina) free from captivity of the evil wizard Dilfeng (Sarastro). The Ouverture, starting without any slow introduction, contains three individual themes: the furious first theme in D-minor, repeated in D major at he end, depicts Dilfeng and his evil spirits. The second and third themes for woodwind accompanied by cello obligato and a horn solo respectively are lovely melodies reffering to Lulu and Sidi. ---


Friedrich Daniel Rudolf Kuhlau (11 September 1786 – 12 March 1832) was a German-Danish composer during the Classical and Romantic periods. He was a central figure of the Danish Golden Age.

He is immortalized in Danish cultural history through his music for Elverhøj, the first true work of Danish National Romanticism and a concealed tribute to the absolute monarchy. To this day it is Kuhlau's version of this melody which is the definitive arrangement.

During his lifetime, he was known primarily as a concert pianist and composer of Danish opera, but was responsible for introducing many of Beethoven's works, which he greatly admired, to Copenhagen audiences. Considering that his house burned down destroying all of his unpublished manuscripts, he was a prolific composer leaving more than 200 published works in most genres.



Friedrich Daniel Rudolf Kuhlau (11 września 1786 – 12 marca 1832) był niemiecko-duńskim kompozytorem klasycznym i romantycznym.

Urodzony w Niemczech, po utracie prawego oka w wypadku ulicznym w wieku lat siedmiu, uczył się gry na pianinie w Hamburgu. Jego ojciec, dziadek i wujek byli oboistami. Chociaż Kuhlau urodził się w biednej rodzinie, jego rodzice płacili za lekcje gry na fortepianie. W roku 1810, uciekł do Kopenhagi, by uniknąć służby wojskowej w Armii Napoleońskiej, która opanowała północne Niemcy, a w roku 1813 został obywatelem Danii. Oprócz długich podróży, mieszkał tam aż do śmierci. Podczas życia, był znany głównie jako pianista oraz kompozytor oper, ale popularyzował też dzieła Beethovena, które podziwiał w Kopenhadze. Biorąc pod uwagę, że jego dom spłonął, niszcząc niepublikowane rękopisy, był płodnym kompozytorem, zostawił ponad 200 utworów w wielu gatunkach. Beethoven, którego Kuhlau znał osobiście, wywarł największy wpływ na jego muzykę.

Napisał koncert fortepianowy, koncert smyczkowy, kilka utworów na pianino w różnych ówczesnych gatunkach: sonaty, sonatiny, walce, ronda i wariacje. Stworzył także kilka dzieł smyczkowych(trzy kwartety i trzy kwintety smyczkowe), utwory muzyki użytkowej oraz kilka oper. Jednak jego najczęściej nagrywanymi i grywanymi dziełami są sonatiny fortepianowe i liczne fletowe utwory. Z powodu swych utworów fletowych dostał przydomek "Beethovena fletu".

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]]> (bluesever) Kuhlau Friedrich Wed, 29 Jun 2011 08:57:31 +0000
01.Great Conductors of the 20th Century - Karel Ancerl 01.Great Conductors of the 20th Century - Karel Ancerl

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1 Festive Overture, Op.96: Allegretto-Presto			
2 In The Tatra Mountains, Op.26: Symphonic Poem			
3 Serenade for Orchestra: I. Allegro See All 2			
4 Serenade For Orchestra: II. Andante Quasi Allegretto	
5 Serenade For Orchestra: III. Presto See All 2			
6 Taras Bulba:Rhapsody For Orchestra, After Gogol: The Death Of Andrei			
7 Taras Bulba:Rhapsody For Orchestra, After Gogol: The Death Of Ostap			
8 Taras Bulba:Rhapsody For Orchestra, After Gogol: The Prophecy And Death Of Tara Bulba
9 Variations On A Theme By And On The Death Of Jan Rychlik

1 Cycle Of Symphonic Poems 'My Fatherland' (Ma Vlast): The Moldau (Vltava): 
Allegro Comodo Non Agitato; L'istesso Tempo Ma Moderato; 
Listesso Tempo; Tempo I; Piu Moto			
2 Symphony No. 8 In G Major, Op.88: I. Allegro Con Brio			
3 Symphony No. 8 In G Major, Op.88: II. Adagio			
4 Symphony No. 8 In G Major, Op.88: III. Allegretto Grazioso			
5 Symphony No. 8 In G Major, Op.88: IV. Allegro Ma Non Troppo			
6 Symphony No.5: I. Adagio			
7 Symphony No.5: II. Larghetto			
8 Symphony No.5: III. Lento			
9 Slavonic Dance In G Minor Op.46 No.8: Presto

Czech Philharmonic Orchestra,  
Vienna Symphony Orchestra,  
Royal Concertgebouw Orchestra,  
Toronto Symphony Orchestra
Karel Ancerl – conductor


The volume devoted to Czech conductor Karel Ancerl is one of the best of EMI's variable Great Conductors series. With the exception of Shostakovich's Festive Overture (not one of his indispensable works), the focus is on Czech composers, thus the set doesn't even attempt to sample the full range of Ancerl's wide musical sympathies. But he was such a superb conductor of Czech music that it's hard to get too upset about the skewed repertoire, especially when we get magnificent performances of neglected music that deserves wider hearing, such as Otmar Mácha's Variations on a theme by and on the death of Jan Rychlik.

Mácha used a flute piece by his friend Rychlik as the basis for a work of originality and power. The poetic opening soon gives way to mounting intensity that reaches a climax at the midpoint, with a Till Eulenspiegel-like flute cowed by raucous trombones and orchestral explosions. After another orchestral climax featuring steadily pounding timpani comes silence, followed by the flute's feeble pipings, a picture of spiritual devastation if ever there was one. Considerably lower on the scale of music we in the West have missed out on is Iša Krejcí's Serenade for Orchestra, an attractive, light, three-movement work with bouncy outer movements and a pretty Andante featuring some lovely string melodies.

More familiar is Viteslav Novák's tone poem In the Tatra Mountains, heard in the first recording Ancerl made with the Czech Philharmonic he led for 18 years. It's full of atmosphere and gorgeous scene-painting, especially in the woodwinds, although the dry, constricted 1950 engineering robs the climaxes of their full impact. Ancerl's intensity and wide dynamics help Janácek's Taras Bulba make a stirring impression, with eloquent winds, brawny brass, and white-hot strings vividly captured in wide-ranging 1961 stereo sound.

The second disc focuses on Ancerl's international career, opening with Smetana's Vltava (The Moldau) in a Vienna performance that downplays its anthem-like aspects and stresses lyricism. A live Dvorák Eighth Symphony from 1970 with the Concertgebouw is nothing short of sensational--brilliantly played, each movement characterized without idiosyncracies, brimming with rhythmic life that keeps the music moving and lends it sparkle. (Ancerl fans already may have this on Volume 2 of Tahra's "Edition Karel Ancerl" series.)

Another live performance, Martinu's Fifth Symphony with the Toronto Symphony in 1971, is on a level similar to the Dvorák; Ancerl's rhythmic alertness and care with balances lends transparency to a busy score that sometimes can sound too dense. There's an Old World gentleness about Ancerl's caressing Larghetto that's captivating, and while you can imagine the final Allegro played with a touch more animal vigor, it's still quite exciting here. A stomping Dvorák Slavonic Dance makes a stirring close to a well-transferred, generously timed (155 minutes) set of brilliant performances. --Dan Davis,


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]]> (bluesever) Great Conductors Sun, 30 Sep 2012 16:27:59 +0000
02.Great Conductors of the 20th Century - Ernest Ansermet 02.Great Conductors of the 20th Century - Ernest Ansermet

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Igor Stravinsky
1	Chant Du Rossignol: Introduction  2:26			
2	Chant Du Rossignol: Marche Chinoise  3:23			
3	Chant Du Rossignol		3:28	
4	Chant Du Rossignol: Jeu Du Rossignol Mecanique 12:19
Nikolai Rimsky-Korsakov
5	Scheherazade, Op.35: I The Sea And Sinbad's Ship	9:26		
6	Scheherazade, Op.35: II The Story Of The Kalender Prince  10:51			
7	Scheherazade, Op.35: III The Young Prince And The Young Princess 9:11
8	Scheherazade, Op.35: IV Festival Of Baghdad	12:16
Claude Debussy		
9	Prelude a l'apres-midi d'un faune	9:00

Bela Bartok
1	Concerto For Orchestra Sz116 (Andante Non Troppo) I. Introduzione  9:40
2	Concerto For Orchestra Sz116 (Allegretto Scherzando) II. Gluoco Delle Coppie7:06
3	Concerto For Orchestra Sz116 (Andante Non Troppo) III. Elegia   6:39
4	Concerto For Orchestra Sz116 (Allegretto) IV. Intermezzo Interrotto 	3:54
5	Concerto For Orchestra Sz116 (Pesante) V. Finale 9:39	
Sergei Rachmaninov
6	Isle of the Dead Op. 29 	19:22	
Maurice Ravel
7	La Valse	13:03
Emmanuel Chabrier
8	Le Roi Malgré Lui	8:33

Orchestre de la Suisse Romande
Orchestre de la Societe des Concerts du Conservatoire
Ernest Ansermet – conductor


"Scheherazade was another Ansermet specialty that suited his flair for color and clarity of instrumental lines. He recorded it three times; this is his second, the fruits of Decca's first Paris stereo recording sessions in 1954. Despite the date, the sound remains remarkably good and Ansermet captures all the moods and colors of the work."

The Ernest Ansermet volume is one of the best of EMI's Great Conductors series. It includes terrific, well-chosen performances, only a pair of which are clearly bested by the competition. Those are the Bartók Concerto for Orchestra and Rachmaninov's Isle of the Dead. Just about everybody's had a shot at the Bartók, so Ansermet's version with a less-than-virtuoso orchestra and a tendency toward understatement is at a disadvantage when set against the idiomatic Bartók of Dorati (Philips), the warmth and personal flair of Bernstein (Sony), and the mysteries of Kubelik (Orfeo). The night music of the Elegia movement is played more for color than foreboding and the trombone Bronx cheers in the Intermezzo never have sounded so matter of fact as here. So in a market crowded with excellent versions, Ansermet's very good one doesn't finish in the money.

Ditto for the Rachmaninov, where the objectivity that served him so well in modern music and the flair for color he exhibited in the Russian repertoire don't quite bring out the deep darkness of Rachmaninov's brooding score. Those lapping waves that run through it could be from Beethoven's Brook in the Pastorale Symphony rather than Rachmaninov's River Styx. And, as in the Bartók, the typically French timbre of the orchestra tends to work against the grain of the music. Reiner (RCA), Ashkenazy (Decca), and Rachmaninov himself (RCA) come closer to the mark. Ansermet's are fine performances that just miss the top rank.

Everything else in this set gets a clear, resounding 10 for performance. Ansermet long championed Stravinsky, and his version of the Chant du Rossignol rivals Reiner's classic Chicago version; and in its color, inner detail, and boldly projected rhythms it beats out Stravinsky's own recording of the complete opera from which it derives. The 1956 stereo sound here is absolutely amazing in its transparency and vivid presence, a tribute to Decca's engineers of the period.

Scheherazade was another Ansermet specialty that suited his flair for color and clarity of instrumental lines. He recorded it three times; this is his second, the fruits of Decca's first Paris stereo recording sessions in 1954. Despite the date, the sound remains remarkably good and Ansermet captures all the moods and colors of the work, from the tensions of the outer movements to the rich vein of languorous Orientalisms that are found throughout. I especially like the contrasts of the third movement, The Young Prince and the Young Princess, where he brings out the sweet tenderness of the opening and clearly delineates the ravishing wind decorations that act as halos for the strings. The quiet, percussion-punctuated march-like section that follows is brilliantly projected and Ansermet's solo violinist plays with an unusual degree of emotion and freedom. Scheherazade is another of those standard pieces apparently recorded by everyone with a baton, and there are many excellent versions, from Reiner (RCA) and Beecham (EMI) to recent ones such as Robert Spano's (Telarc), but Ansermet's 1961 recording is among the top half-dozen and this one's as good, lacking only the full spaciousness of the later recording.

The rest of the items here are about as self-recommending as it gets--an elegant Debussy Prélude à l'après-midi d'un faune, a sparkling Ravel La Valse (which, like the Stravinsky work, he premiered), and a scintillating Fète Polonaise from Chabrier's Le Roi malgré lui. All three are on anyone's short list of the best performances, though the Ravel is an earlier recording than the more familiar later one. It was made in 1953 with the Paris Conservatory Orchestra and while the mono sound is good, it's not nearly as spacious and vivid as his later version. The Chabrier is a perfect finale to the set, a bubbly reminder of Ansermet's incomparable LP collection of that composer's orchestral music. My only complaint, and it's a minor piece of nit-picking, is that the selections reinforce the tendency to pigeonhole Ansermet as a Franco-Russian specialist when he encompassed a far wider repertoire that ran from Bach to Martin and included some fine Haydn and Beethoven recordings. --Dan Davis,


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]]> (bluesever) Great Conductors Tue, 02 Oct 2012 16:48:32 +0000
03.Great Conductors of the 20th Century - Ataulfo Argenta 03.Great Conductors of the 20th Century - Ataulfo Argenta

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Disc 1:
Franz Liszt - A Faust Symphony: A Three Character Portraits (After Goethe)
01. I. Faust
02. II. Gretchen
03. III. Mephistopheles
Maurice Ravel
04. Alborada Del Gracioso: Assez Vif-Plus Lent-Au Mouvement

Disc 2:
Franz Schubert - Symphony No.9 In C Major, D944 “The Great”
01. I.Andante - Allegro Ma Non Troppo
02. II. Andante Con Moto
03. III. Scherzo. Allegro Vivace
04. IV. Allegro Vivace
Manuel de Falla - El Amor Brujo: Escenas Gitanas De Andalucia. Ballet En Un Acto
05. I. Introduccion Y Escena: Allegro Furiosos Ma Non Troppo Vivo
06. II. En La Cueva: La Noche: Tranquilo E Misterioso
07. III. Cancion Del Amor Dolido: Allegro
08. IV. El Aparecido: Vivo, Ma Non Troppo
09. V. Danza De Terror: Allegro Ritmico
10. VI. El Circulo Magico: Romance Delpescador: Andante Molto Tranquillo
11. VII. A Media Noche: Los Sortilegios: Lento E Lontano
12. VIII. Danza Ritual Del Fuego: Para Ahuyentar Los Malos Espiritus: 
Allegro Ma Non Troppo E Pesante
13. IX. Escena: Poco Moderato
14. X. Cancion Del Fuego fatuo: Vivo
15. XI. Pantomima: Allegro
16. XII. Danza Del Jeugo De Amor: Allegretto Mosso
17. XIII. Final. Las Campanas Del Amanecer: Allegretto Tranquillo

Ana Maria Iriarte – soprano
Orchestre de la Societe des Concerts du Conservatoire
Ataulfo Argenta – conductor


With its first dozen releases in the 'Great Conductors of the 20th Century' series EMI Classics ally themselves with the same gold standard as the Philips 'Great Pianists' series. I wonder how many more are to come after the first barrage. The classical newsgroups will be rocking with the usual debates about why one conductor was included and another waits disconsolately in the steppe. Why was this or that version chosen over another? I do not want to be left out. More of that anon.

Argenta was born on the Northern Atlantic coast of Spain at the small fishing town of Castro Urdiales (about the same size as Brixham in Devon, UK). It is not far from Santander. He studied in Belgium and Germany after beginning his conservatoire studies at the age of thirteen in Madrid. His wartime prentice years in Germany were possible because of Spain's and Franco's special relationship with the Dritte Reich. Argenta promptly left Germany and returned to Spain when allied bombs fell too close for comfort. In 1946 he became chief conductor of the Spanish National Orchestra. His interpretations of Spanish and French music were well regarded.

His recordings include a Symphonie Fantastique with the Paris Conservatoire Orchestra, a reputedly exhilarating Tchaikovsky 4 (LSO), he conducts the LSO in the famously OTT Campoli Tchaikovsky violin concerto (reissued on Beulah 3PD10- how we miss that label) and serves similar duty, this time with the LPO, for Katchen's Liszt piano concertos.

He recorded a great deal of Spanish music. All the usual suspects are there. Turina, Rodrigo, Guridi, Usandizaga, de Falla, Halffter and Granados all get a look in. His Ravel also includes Pavane, Rapsodie Espagnole and Ma Mère l'Oye. I am sure I recall these appearing on Decca Ace of Diamonds LPs with the ADD prefix (how those prefixes resonate: SRCS, VIC, ACL, ADD, SXL, ASD etc!). Maurice Ohana's early Lament for the Death of a Bullfighter was also recorded. There are upwards of twenty Argenta LPs of zarzuela by Vives, Jimenez, Serrano, Breton and Chapi.

I am not sure what has been done in Spain but so far as the wider European and world market is concerned, Argenta has not received the sort of methodical adulation and 'reissuitis' accorded to the likes of Kubelik, Silvestri and Markevich let alone Stokowski and Walter. This set is a major step forward for his reputation.

The Argenta Faust Symphony is furiously virtuosic, oozing fiery conviction and bringing you up short with artistic parallels that would never have occurred to you without Argenta's attack. I defy you not to think about Tchaikovsky's Fifth and Manfred when you hear this. This is the original version without the chorus in the Mephistopheles finale and Argenta gave it its first recording.

The slowness of Argenta's Great C Major is the first thing that hits you and I can't say I like it. This does however accentuate the quick tumbling Brucknerian climax at 4.19 and the quicker tempi chosen for the later movements. In the andante the precisely limned steadily ticking beat works well. The scherzo is roughened and tartly brusque. This is not in my view an extraordinary Great C Major nor for that matter was the last Ninth I reviewed - that of Boult and the BBCSO on the now sunken Beulah label.

It is rather a shame that Argenta's El Amor Brujo follows just after the Schubert. The Schubert symphony is the only thing here to be in stereo and its sound is pretty good as is that for the Liszt. The de Falla is the oldest recording in the set and its string tone is a mite splintery. Odd, too, that it was recorded by the Paris Conservatoire Orchestra when Argenta's own orchestra the Orquesta Nacional de España would have been a more natural choice. However the invitation came from French Columbia and he had to dance to their tune. As it turns out the orchestra are on good mettle. This is a superbly spick and span interpretation of a work which I have long adored. By this I do not imply that it is too regimented. It finds time to stretch and wonder, for example in the Pantomima in which de Falla wrote an angel's gift of a tune. Here the massed violin tone takes off some of the sheen. As for the mezzo, Ana Maria Iriarte, she is perfect, with guttural hues to catch the smoke-roughened gypsy throatiness. There is hardly a trace of vibrato. She is a cut or two above the flawed Ines Rivandeneyra recently heard by me in Markevich's 1966 recording on Eloquence. She also takes great care with the shaping of the words (printed in full in Spanish and trilingual translation) and their meaning. When the suite finished I immediately played it again - such was the effect of this recording on me. In time it might even displace my perverse and aberrant preference for the Russian CFP licensed performance on CFP 40234 with Arvid Jansons conducting the Moscow Radio SO. The mezzo is Irina Arkhipova. But before you go looking for it bear in mind that it is an LP and that the sound is surprisingly scrawny in places.

Both the Faust and the Alborada are recorded in the present set in close-up vivid sound with more hiss evident in the Faust than the Alborada. The Alborada has some of its brashness and brilliance bled away by the 1950s engineer's decision to pull back on the recording levels for climaxes.

The notes are informative and thorough as you would expect from Alan Sanders. I owe it to Mr Sanders that I can tell you that the Cento Soli was a contractual pseudonym used at different times for the Lamoureux, the Paris Conservatoire or for a pick-up orchestra. The trilingual notes are contrasted with five wonderfully grainy and articulate photographs courtesy of Toni Argenta. The recordings are licensed to EMI by Decca, Musidisc and EMI France.

Lisztians need to hear Argenta's Faust. His El Amor Brujo is perhaps the best ever. This set has attractions transcending fogeydom and 1950s nostalgia. ---Rob Barnett, MusicWeb International


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]]> (bluesever) Great Conductors Sat, 06 Oct 2012 15:41:20 +0000
100 Best Ballet 6 CDs (2009) 100 Best Ballet 6 CDs (2009)

01. Tchaikovsky - Swan Lake Op.20: No.10: Scene (Moderato)
02. Tchaikovsky - Swan Lake Op. 20, Act I: 2. Waltz (Tempo Di Valse)
03. Tchaikovsky - Swan Lake Op. 20, Act Ii, 13. Dances of The Swans: Iv. Dance of The Cygnets (Allegro Moderato)
04. Tchaikovsky - Swan Lake Op. 20, Act Ii, 13. Dances of The Swans: V. Andante - Andante Non Troppo - Allegro (Christopher Warren-Green, Violin; Robert Truman, Cello)
05. Tchaikovsky - Swan Lake Op. 20, Act Iii: 20. Hungarian Dance: Csardas (Moderato Assai - Allegro Moderato - Vivace)
06. Tchaikovsky - Swan Lake Op. 20, Act Iii: 21. Spanish Dance (Allegro Non Troppo: Tempo Di Bolero)
07. Tchaikovsky - Swan Lake Op. 20, Act Iii: 22. Neapolitan Dance (Allegro Moderato - Andantino Quasi Moderato)
08. Tchaikovsky - Swan Lake Op. 20, Act Iii: 23. Mazurka
09. Tchaikovsky - Sleeping Beauty Op. 66: Introduction (Allegro Vivo - Andantino)
10. Tchaikovsky - Sleeping Beauty Op. 66, Act I: 'the Spell', 8. Pas D'action:: Rose Adagio (Andante - Adagio Maestoso)
11. Tchaikovsky - Sleeping Beauty Op. 66, Act Ii, Scene 1: 'the Vision': 17. Panorama (Andantino)
12. Tchaikovsky - Sleeping Beauty Op. 66, Act I: 'the Spell': 6. Waltz (Allegro: Tempo Di Valse)
13. Tchaikovsky - The Nutcracker Op. 71, Act 1: Overture.
14. Tchaikovsky - The Nutcracker Op. 71, Scene 1: March
15. Tchaikovsky - The Nutcracker Op. 71, Divertissement: Variation 2: Dance of The Sugar-Plum Fairy - Coda [To Pas De Deux]
16. Tchaikovsky - The Nutcracker Op. 71, Divertissement: Trepak (Russian Dance)
17. Tchaikovsky - The Nutcracker Op. 71, Divertissement: Chocolate (Spanish Dance)
18. Tchaikovsky - The Nutcracker Op. 71, Divertissement: Coffee (Arab Dance)
19. Tchaikovsky - The Nutcracker Op. 71, Divertissement: Tea (Chinese Dance)
20. Tchaikovsky - The Nutcracker Op. 71, Divertissement: Dance of The Reed Flutes
21. Tchaikovsky - The Nutcracker Op. 71, Divertissement: Waltz of The Flowers

01. Tchaikovsky - Eugene Onegin: Polonaise
02. Minkus - Don Quixote: Pas De Deux (Act III) (Minkus Arr. Irving)
03. Minkus - La Bayadere: The Kingdom Of The Shades (Act.IV Conclusion) (Arr. Lanchbery)
04. Andre Previn - Romeo E Giulietta: Dance Of The Knights (Act I)
05. Sergei Prokofiev - Romeo E Giulietta: Balcony Scene (Act I)
06. Andre Previn: London Symphony Orchestra - Prokofiev: Cinderella, Op. 87 - Act 1: Pas De Chale
07. Sergei Prokofiev - Cinderella: Fairies: Spring, Summer, Autumn, Winter (Act I)
08. Andre Previn: London Symphony Orchestra - Prokofiev: Cinderella, Op. 87 - Act 2: Pas De Deux: The Prince & Cinderella
09. Aram Khachaturian: London Symphony Orchestra - Khachaturian: Spartacus Suite #2 - Adagio Of Spartacus & Phrygia
10. Dmitri Shostakovich - The Age Of Gold: Polka
11. Yuri Temirkanov: Royal Philharmonic Orchestra - Khachaturian: Gayaneh - Sabre Dance
12. Aram Khachaturian - Gayaneh: Dance Of The Rose Maidens (Act III)
13. Aram Khachaturian - Gayaneh: Lezhginka (Act I)

01. Barry Wordsworth - La Fille Mal Gardee - Introduction - Dance of the Cock and Hens (Act I)
02. Barry Wordsworth - La Fille Mal Gardee - Widow Simone - Clog Dance (Act II)
03. Barry Wordsworth - La Fille Mal Gardee - Pas de deux (Act II)
04. Barry Wordsworth - La FIlle Mal Gardee - Finale (Act II)
05. Robert Irving - Giselle - Valse (Act 1)
06. Robert Irving - Giselle - Pas de deux (Act II)
07. Terence Kern - Le Corsaire - Pas de deux (interpolated into Minkus's original score in 1899)
08. Charles Mackerras - Faust (Ballet Music) - Les Nubiennes - Variation du miroir - Danse de Phyne
09. Charles Mackerras - Coppelia - Prelude & Mazurka (Act I)
10. Leo Delibes - Delibes: Coppelia - Waltz
11. Charles Mackerras - Coppelia - Czardas (Act I)
12. Manuel Rosenthal - Gaite Parisienne - Overture
13. Charles Mackerras - Sylvia - Les Chasseresses (Act I)
14. Charles Mackerras - Sylvia - Intermezzo & Valse lente (Act I)
15. Charles Mackerras - Sylvia - Pizzicati (Act III)
16. John Lanchbery - Les Deux Pigeons - Pas de deux pigeons
17. John Lanchbery - Les Deux Pigeons - Dance of the Gypsies
18. John Lanchbery - Les Deux Pigeons - Hungarian Dance
19. Andre Previn: London Symphony Orchestra - Ravel: Bolero - Finale

01. Petrushka - Scenes Burlesques En Quatre Tableaux, Premiere Tableau: Le Tour De Passe-Passe - Danse Russe
02. Les Sylphides: Prelude In A, Op.28, No.7
03. Les Sylphides: Grande Valse Brillante In E Flat, Op.18
04. La Boutique Fantasque: Cancan
05. Les Biches (1981 Digital Remaster): Rondeau
06. Les Biches (1981 Digital Remaster): Adagietto
07. Les Biches (1981 Digital Remaster): Rag-Mazurka
08. Prelude A L'apres-Midi D'un Faune
09. The Rite of Spring, 'le Sacre Du Printemps' (1947 Revised Version)
10. El Sombrero De Tres Picos: Danza Del Corregidor
11. Apollo - Ballet En Deux Tableaux (1947 Revised Version), Premier Tableau (Prologue): Naissance D'apollon
12. Daphnis Et Chloe (Complete Ballet), Part Iii: 4. Danse Generale - Bacchanale
13. Scheherazade Op. 35: Ii. The Story of The Kalendar Prince
14. Parade - Ballet Realiste Sur Un Theme De Jean Cocteau (2005 Digital Remaster): Final - Suite Au 'prelude Du Rideau Rouge'
15. The Firebird (1910 Version)

01. Robert Irving - Birthday Offering: Overture - Entree - Grand Adagio And Coda (Arr. Irving)
02. Jean-Philippe Collard - Symphonic Variation: Final Section
03. Malcom Sargent - Facade: Swiss Yodelling Song
04. Malcom Sargent - Facade: Polka
05. Malcom Sargent - Facade: Waltz
06. Malcom Sargent - Facade: Popular Song
07. Malcom Sargent - Facade: Tango Pasodoble
08. Malcom Sargent - Facade: Tarantella Sevillana
09. Philip Gammon - A Month In The Country: No.8 Alla Polacca (Arr. Lanchbery)
10. John Lanchbery - Gnossienne No.1
11. Adrian Boult - Enigma Variations: Nimrod
12. Adrian Boult - Enigma Variations: Finale
13. John Lanchbery - Tales Of Beatrix Potter: Mrs Tiggy-Winkle's Laundry
14. John Lanchbery - Tales Of Beatrix Potter: The Tale Of Jemima Puddleduck
15. John Lanchbery - Tales Of Beatrix Potter: The Mouse Waltz
16. Charles Mackerras - Les Patineurs: Allegro Moderato E Pesante - Andante Espressivo - Allegro Con Spirito
17. Charles Mackerras - Pineapple Poll: Opening Dance (Arr. Mackerras)
18. Charles Mackerras - The Lady And The Fool: Grand Adage

01. Richard Hickox - Serenade - String Serenade In C - Pezzo In Forma Di Sonatina (Extract)
02. Richard Hickox - Serenade - String Serenade In C - Valse
03. Richard Hickox - Symphony In C - FInale: Allegro vivace
04. Michel Plasson - Jewels: Emeralds - Incidental Music To Shylock: Finale
05. Riccardo Muti - Jewels: Diamonds - Symphony No.3 in D
06. Mikhail Pletnev - Ballet Imperial - Piano Concerto No.2 - Finale: Allegro con fuoco
07. Leonard Slatkin - Billy The Kid - Celebration
08. Barbara Lieberman - Fancy Free - Opening Dance
09. Leonard Slatkin - Rodeo - Buckaroo Holiday
10. Leonard Slatkin - Rodeo - Hoe-Down
11. Paavo Jarvi - West Side Story - Symphonic Dances - II. Somewhere
12. Leonard Slatkin - Appalachian Spring - Variaions on a Shaker Hymn (Simple Gifs)
13. Leonard Slatkin - On The Town - Times Square
14. Lt. Col. G.A.C. Hoskins - Stars And Stripes - Finale: The Stars and Stripes Forever!


Six CD box that contains an unrivalled collection of 100 favorite ballet classics. Music featured from: Swan Lake, Sleeping Beauty, The Nutcracker, Don Quixote, Romeo and Juliet, Cinderella, Spartacus, The Age of Gold, La Fille Mal Garde, Apollo, Tales of Beatrix Potter, Serenade, West Side Story and many others. EMI Classics.

download: CD1 CD2 CD3 CD4 CD5 CD6


]]> (bluesever) 100 Best Ballet Sat, 17 Mar 2012 14:23:56 +0000
100 Years of Classical Music CD1 100 Years of Classical Music CD1

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1901 - Rachmaninov: Piano Concerto No.2 in C minor, Op.18
[1] I Moderato
[2] II Adagio sostenuto
[3] III Allegro scherzando

Leif Ove Andsnes
Berliner Philharmoniker, Antonio Pappano
Recorded live: 3-4 June 2005, Philharmonie, Berlin

1905 - Debussy: La mer
[4] I De l'aube a midi sur la mer
[5] II Jeux de vagues
[6] III Dialogue du vent et de la mer

Philharmonia Orchestra, Carlo Maria Giulini
Recorded: 11-13 & 19 April 1962, Kingsway Hall, London

[7] 1907 - Delius: Brigg Fair (An English Rhapsody) 15.51

Royal Philharmonic Orchestra, Sir Thomas Beecham
Recorded: 31 October 1956 & 2 April 1957, No.1 Studio, Abbey Road, London



]]> (bluesever) 20th Century Masterpieces -100 Years of Classical Thu, 12 Aug 2010 15:20:29 +0000
100 Years of Classical Music CD10 100 Years of Classical Music CD10

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1939 - Rodrigo: Concierto d'Aranjuez
[1] I Allegro con spirito
[2] II Adagio
[3] III Allegro gentile

Angel Romero
London Symphony Orchestra, André Previn
Recorded: 28-30 March 1977, No.1 Studio, Abbey Road, London

1940 - Britten: Sinfonia da Requiem, Op.20
[4] I Lacrymosa (Andante ben misurato)
[5] II Dies irae (Allegro con fuoco)
[6] II Requiem aeternam (Andante molto tranquillo)

City of Birmingham Symphony Orchestra, Simon Rattle
Recorded: 23-24 May 1984, Butterworth Hall, Warwick Arts Centre, University of Warwick

[7] 1942 - Copland: Fanfare for the Common Man

Orquesta Filarmónica de la Ciudad de México, Enrique Bátiz
Recorded: March 1985, Sala Nezahualcoyotl Mexico City

1944 - Khachaturian: Masquerade
[8] Waltz
[9] Galop

Philharmonia Orchestra, Efrem Kurtz
Recorded: 28 April 1961, No.1 Studio, Abbey Road, London

1945 - Bartók: Piano Concerto No.3, Sz119
[10] I Allegretto
[11] II Adagio religioso – Poco più mosso – Tempo I
[12] III Allegro vivace (Presto)

Martha Argerich
Orchestre Symphonique de Montreal, Charles Dutoit
Recorded: 29-31 October 1997, L'Église de St. Eustache, Montreal

Total approximate duration: 77.54



]]> (bluesever) 20th Century Masterpieces -100 Years of Classical Mon, 09 Aug 2010 21:35:28 +0000
100 Years of Classical Music CD11 100 Years of Classical Music CD11

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1950 - Strauss: Vier letzte Lieder
[1] I Frühling
[2] II September
[3] III Beim schlafengehen
[4] IV Im Abendrot

Nina Stemme
Orchestra of the Royal Opera House, Covent Garden, Antonio Pappano
Recorded: 1-2, 4-5 & 11 September 2006, No.1 Studio, Abbey Road London

1953 - Tippett: Concerto for Double String Orchestra
[5] I Allegro con brio
[6] II Adagio cantabile
[7] III Allegro molto

Moscow Chamber Orchestra, Bath Festival Orchestra, Rudolf Barshai
Recorded: 2 July 1962, No.1 Studio, Abbey Road, London

1954 - Lutoslawski: Concerto for Orchestra
[8] I Intrada (Allegro maestoso)
[9] II Capriccio, Notturna e Ariosa (Vivace)
[10] III Passacaglia, Toccata e Corale (Andante con moto – Allegro giusto)

Recorded: 25-27 May 1976, Polish Radio & TV Studio, Katowice

Total approximate duration: 71.37



]]> (bluesever) 20th Century Masterpieces -100 Years of Classical Mon, 09 Aug 2010 19:45:15 +0000
100 Years of Classical Music CD12 100 Years of Classical Music CD12

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1956 - Walton: Cello Concerto
[1] I Moderato
[2] II Allegro appassionato
[3] III Lento – Brioso – Allegro molto – Rapsodicamente – Adagio

Lynn Harrell
City of Birmingham Symphony Orchestra, Simon Rattle
Recorded: 21 December 1991, Butterworth Hall, Warwick Arts Centre, Universiry of Warwick

1958 - Boulez: Le Soleil des eaux
[4] Complainte du lézard amoureux
[5] La Sorgue

Josephine Nendick, Barry McDaniel, Louis Devos
BBC Chorus & Symphony Orchestra, Pierre Boulez
Recorded: 5 March 1964, No.1 Studio, Abbey Road, London

[6] 1960 - Penderecki: Threnody for the Victims of Hiroshima

Polish Radio National Symphony Orchestra, Krzysztof Penderecki
Recorded: 3-7 February 1975, Katowice

1961 - Bernstein: Symphonic Dances from 'West Side Story'
[7] I Prologue
[8] II Somewhere
[9] III Scherzo
[10] IV Mambo
[11] V Cha-cha
[12] VI Meeting Scene
[13] VII Rumble
[14] VIII Finale

City of Birmingham Symphony Orchestra, Paavo Järvi
Recorded: 8-10 June, 1997, Symphony Hall, Birmingham

Total approximate duration: 71.43



]]> (bluesever) 20th Century Masterpieces -100 Years of Classical Mon, 09 Aug 2010 15:48:23 +0000
100 Years of Classical Music CD13 100 Years of Classical Music CD13

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1964 - Messiaen: Et exspecto resurrectionem mortuorum
[1] "Des profondeurs de l'abîme, je crie vers toi, Seigneur; Seigneur, écoute ma voix"
[2] "Le Christ, ressuscité des morts, ne meurt plus; la mort n'a plus sur lui d'empire"
[3] "L'heure vient où les morts entendront la voix du fils de Dieu..."
[4] "Ils ressusciteront, glorieux, avec un nom nouveau dans le concert joyeux des étoiles et les acclamations des fils du ciel"
[5] "Et j'entends la voix d'une foule immense..."

Ensemble de Percussion de l'Orchestre de Paris
Orchestre de Paris, Serge Baudo
Recorded: 4, 6-7 March 1968, Salle Wagram, Paris

1965 - Birtwistle: Tragoedia
[6] Prologue
[7] Parados
[8] Episodion: Strophe I
[9] Episodion: Anapaest I
[10] Episodion: Antistrophe I
[11] Stasimon
[12] Episidion: Strophe II
[13] Episidion: Anapaest II
[14] Episidion: Antistrophe II
[15] Exodus

Melos Ensemble, Lawrence Foster
Recorded: 23-24 April 1967, No.1 Studio, Abbey Road, London

1970 - Dutilleux: Cello Concerto 'Tout le monde lointain...'
[16] I Enigme (Très libre et flexible)
[17] II Regard (Extrêmement calme)
[18] III Houles (Large et ample)
[19] IVMiroirs (Lent et extatique)
[20] V Hymne (Allegro)

Mstislav Rostropovich
Orchestre de Paris, Serge Baudo
Recorded: 5-6 November 1974, Salle Wagram, Paris

Total approximate duration: 72.55



]]> (bluesever) 20th Century Masterpieces -100 Years of Classical Mon, 09 Aug 2010 13:55:05 +0000