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. --- encyclopedia.mitrasites.com

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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Se il cantor trace (15´44˝)

 1 Recitativo. Se il cantor trace (1´40˝)
 2 Aria. Sí che sei ben fortunato (6´23˝)
 3 Recitativo. Deh, rammentati almeno (1´12˝)
 4 Aria. Se sapessi con la morte (6´30˝)

Per palesarti appieno (12´27˝)

 5 Recitativo. Per palesarti appieno (0´47˝)
 6 Aria. Chi al suo fedel non rende (4´47˝)
 7 Recitativo. E tu crudel mi temi (1´02˝)
 8 Aria. Allorché s'amano (5´51˝)

Euridice e Orfeo - cantata a due (15´22˝)

 9 Recitativo. Dalle tenebre orrende (1´51˝)
10 Duetto. Mia vita / Cor mio (5´40˝)
11 Recitativo. Vieni dell'alma mia (2´43˝)
12 Duetto. Fatal forza (5´08˝)

Clori, Clori, mia vita (16´24˝)

13 Recitativo. Clori, Clori, mia vita (0´59˝)
14 Aria. Se tu guardi (8´54˝)
15 Recitativo. Deh vieni, sí (0´46˝)
16 Aria. Vanne e trova nella morte (5´45˝)

Bell'Aurora (13´50˝)

17 Aria. Bell'Aurora (5´35˝)
18 Recitativo. Esci dal chiuso albergo (2´13˝)
19 Aria. L'amorosa tortorella (6´02˝)

Eva Lax -  mezzo-soprano 1-8, 13-16
Maria Zadori - soprano 9-12, 17-19
Noemi Kiss - s soprano 9-12

AFFETTI MUSICALI BUDAPEST
on period instruments:

János Bali, János Malina - recorder 6, 8
István Kertész -  violin 1-4, 14, 16-19
Erika Petőfi - violin 1-4, 14, 16
Csilla Vályi - violoncello 1-19
János Mezei - harpsichord 1-19

Janos Malina - artistic director

Johann Adolf Hasse never will make the top 10 list of Baroque composers, but anyone who enjoys Bach, Handel, and Vivaldi and who remains unfamiliar with this highly skilled melodist whose works show a keenly disciplined sense of structure and formal balance, would do well to take a close listen. In these so-called "Italian cantatas", Hasse, who like Handel was from northern Germany but spent time studying and composing in Italy, reveals the traits that made him a popular and envied opera composer. Even Mozart and Haydn spoke highly of his accomplishments, which also included oratorios, liturgical music for churches in Dresden and Venice, and a number of instrumental works. However, it's his vocal pieces, exemplified in the secular cantatas performed here, that really call our attention to music that deserves wider acceptance. Although Hasse's cantatas inevitably are compared to Alessandro Scarlatti's own (Scarlatti was one of Hasse's teachers and was more or less the "father" of the Italian cantata), a work such as Hasse's Euridice e Orfeo, for two sopranos and obbligato instruments, shows a masterful--and economical--treatment of the drama with some intricately interwoven and thoroughly engaging solo lines.

The singers--especially sopranos Mária Zádori and Noémi Kiss--display lovely, clear, warm-focused voices and are fully in command of the music and the style. They really seem to enjoy their duet--a sentiment shared by their instrumental partners. And speaking of instruments: the Affetti Musicali Budapest is a first rate ensemble that gets the benefit of Hungaroton's excellently balanced, vivid sonics. Éva Lax, who performs three of the solo cantatas, actually sounds more like a countertenor than a mezzo, and she has a facile technique that allows her to just spin out her lines as if born to this music. These five works, four of which strictly follow the accepted four-part form of recitative-aria-recitative-aria, are certainly not masterpieces, but they are worthy representatives of the output of another highly regarded 18th-century composer unfairly hidden in the long shadows of Georg Frederic and Johann Sebastian. ---David Vernier, ClassicsToday.com

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1. Cello Concerto No. 2 in D major (1737): 1. Andante grazioso
2. Cello Concerto No. 2 in D major (1737): 2. Con bravura
3. Cello Concerto No. 2 in D major (1737): 3. Larghetto, con poco moto – mezza voce
4. Cello Concerto No. 2 in D major (1737): 4. Fuga.
5. Cello Concerto No. 2 in D major (1737): 5. [Allegro di molto]

6. Cello Concerto No. 5 in F minor (undated): 1. Andante grazioso
7. Cello Concerto No. 5 in F minor (undated): 2. Allegro
8. Cello Concerto No. 5 in F minor (undated): 3. Segue il cantabile – Largo e gustoso
9. Cello Concerto No. 5 in F minor (undated): 4. Allegro

10. Cello Concerto No. 4 in A major (1738): 1. Andante piacevole
11. Cello Concerto No. 4 in A major (1738): 2. Allegro
12. Cello Concerto No. 4 in A major (1738): 3. Larghetto e gustoso
13. Cello Concerto No. 4 in A major (1738): 4. Allegro

14. Cello Concerto No. 3 in D minor (1738): 1. Andante grazioso
15. Cello Concerto No. 3 in D minor (1738): 2. [Con spirito]
16. Cello Concerto No. 3 in D minor (1738): 3. Amoroso – mezza voce
17. Cello Concerto No. 3 in D minor (1738): 4. Allegro

18. Cello Concerto No. 1 in A major (1737): 1. Andantino grazioso
19. Cello Concerto No. 1 in A major (1737): 2. Allegro
20. Cello Concerto No. 1 in A major (1737): 3. Larghetto a mezza voce
21. Cello Concerto No. 1 in A major (1737): 4. Allegro

22. Sinfonia concertata (Cello Concerto No. 6) in C minor (1737): 1. Andante grazioso
23. Sinfonia concertata (Cello Concerto No. 6) in C minor (1737): 2. Molto presto
24. Sinfonia concertata (Cello Concerto No. 6) in C minor (1737): 3. Larghetto
25. Sinfonia concertata (Cello Concerto No. 6) in C minor (1737): 4. Allegro

Anner Bylsma - Cello
Tafelmusik Baroque Orchestra
Jeanne Lamon - Musical Director 

Leonardo Leo (1694-1744) was one of the leading Neapolitan composers of his day, famed in particular for his theater and church music; most notable among his instrumental works are the six cello concertos.

Cellist Anner Bylsma is perhaps best known for his interpretation of music from the baroque and early classical periods. He is a member of outstanding ensembles as the Leonhardt Consort, La Petite Bande, and he forms a trio with Hans Brüggen and Gustav Leonhardt, one of Europe's best known chamber groups. Mr. Bylsma is among the most-recorded musicians in the world of early music. ---prestomusic.com

18th-century Neapolitan composer Leonardo Leo was best known for his operas and sacred music, but he also contributed some finely crafted, idiomatic, delightfully inventive instrumental works, including these six cello concertos from the late-1730s. The melodic writing shows the engaging style of a savvy opera composer, and likewise the slow movements exude an emotional range on the level of the period's more sophisticated arias. In this re-issue from a 1984 session, we hear cellist Anner Bylsma at the peak of his Baroque-cello interpretive powers, his cello's voice out-front, with big, singing tone, his style extrovert yet fully in the spirit of Leo's congenial solo writing.

And while the writing can be quite challenging for the soloist, these works aren't just show-off pieces spotlighting the cello, with the orchestra serving a secondary role. Indeed, the orchestra generally is a true partner, its function tightly integrated with the soloist's--and Leo further sustains our interest by varying structural and harmonic details from movement to movement and concerto to concerto. And speaking of orchestras: at this time Tafelmusik Baroque Orchestra was among a handful of top period-instrument ensembles, and its contribution here is solid and sure, energetic and vibrant, even if the rhythmic precision and clarity of articulation isn't what we expect--and hear--20 years later from world-class groups such as Les Violons du Roy.

Also, the recording ambience, the domain of a Toronto church, is distractingly resonant, the sound characterized by an "artificial", processed quality that gives the instruments a larger-than-life presence. Still, this is very good playing of some very entertaining music that's well worth hearing, especially if you'd like a nice alternative to the late works of Vivaldi. ---David Vernier, ClassicsToday.com

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CD1
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

CD2
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, ClassicsToday.com

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CD1
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

CD2
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, ClassicsToday.com

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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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CD1:
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

CD2:
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)

CD3:
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

CD4:
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)

CD5:
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

CD6:
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.

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1. Processional Hymn: Judicii signum 6:13
2. Troped Introit: Quem creditis super astra/Viri galilei10:03
3. Kyrie: Celestis terrestrisque 5:34
4. Gloria: Prudentia prudentium 6:05
5. Alleluia I: Dominus in sina 3:25
6. Alleluia II: Ascendens cristus 4:56
7. Sequence with Prose: Salvator mundi/Rex omnipotens die hodierna 8:15
8. Troped Offertory: Elevatus est rex fortis/Viri galilei 8:29
9. Sanctus: Ante secula 2:50
10. Agnus Dei: Omnipotens eterne 3:03
11. Troped Communion: Corpus quod nunc/Psallite domino 2:34
12. Lection: Apocalypse 21:1-5 2:41
13. Prose: Regnantem sempiterna 2:37
14. Hymn: Cives celestis patrie 5:39

Anonymous 4 (Vocal Ensemble)   

Remember all of the year-2000 nervousness in the latter part of 1999? That was nothing. As the year 1000 approached, people all over the Christian world were convinced that the Apocalypse--as depicted in the biblical Book of Revelation--and the end of the world were at hand. In one of the more interesting musical program ideas to be inspired by the turn of the calendrical odometer, Anonymous 4 revisits the original "millennium madness" with a disc of chant from around the year 1000--specifically, a Mass for the Feast of the Ascension, one of the few occasions on which the liturgy included readings from the Book of Revelation. This is the oldest written Western music to have survived, and it's difficult even to decipher (the original notation has no staff lines or clear indications of rhythm), let alone perform. Yet, the challenges involved seem to have done these ladies good: not only is their performance both assured and confident, but one can hear new facets in their vocal sound--a sound that, however beautiful it might be, some listeners find monotonous. (One new facet is Jacqueline Horner, the quartet's newest member, for whom this is the first recording.) The singers experiment with interpretation of ornaments that are indicated in the manuscript sources (there's a fascinating little trill that sounds rather like a cooing dove); in some of the chants, they add an additional line in accordance with the principles of improvising polyphony that were laid out in 10th- and 11th-century treatises. The entire program seems thoroughly considered, as well as immaculately executed. If you count on the consistently pure, silky tone and meditative quality that has made Anonymous 4 world-famous, you'll definitely find it here; if you've gotten bored with them, you might find this disc a fascinating surprise. --Matthew Westphal, amazon.com

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Disk 1

* 1.Canon - with Johann Pachelbel
* 2.Air on the G string - with Johann Sebastian 
Bach* 3.Adagio - with Giovanni Tomaso Albinoni
* 4.Dance of the Blessed Spirits - with Christoph Willibald Gluck
* 5.Saraband - with George Frideric Handel
* 6.Flute and Harp Concerto - with Wolfgang Amadeus Mozart
* 7.Moonlight Sonata - with Ludwig Van Beethoven
* 8.Soave sia il vento (Cosi fan tutte) - with Wolfgang Amadeus Mozart
* 9.New World Symphony - with Antonin Dvorak
* 10.The Lark Ascending - with Ralph Vaughan Williams
* 11.Nimrod - with Sir Edward Elgar
* 12.Paganini Rhapsody - with Sergei Rachmaninov
* 13.Greensleeves Fantasia - with Ralph Vaughan Williams
* 14.Piano Concerto No. 2 - with Dmitri Shostakovich
* 15.Concierto de Aranjuez - with Joaquin Rodrigo
* 16.The Swan - with Camille Saint-Saens
* 17.Barcarolle (The Tales of Hoffmann) - with Jacques Offenbach
* 18.Morning (Peer Gynt) - with Edvard Grieg

Disk 2

* 1.O Fortuna (Carmina Burana) (Old Spice TV Ad) - with Carl Orff
* 2.Cavatina (The Deer Hunter) - with Stanley Myers
* 3.Cinema Paradiso Love Theme (Cinema Paradiso) - with Ennio Morricone
* 4.Temple Duet (The Pearl Fishers) (Gallipoli) - with Georges Bizet
* 5.Symphony No. 5 (Death in Venice) - with Gustav Mahler
* 6.Dance of the Knights (Romeo and Juliet) (L'Egoiste TV Ad) - with Sergei Prokofiev
* 7.Schindler's List Main Theme (Schindler's List) - with John T. Williams
* 8.Clarinet Concerto (Out of Africa) - with Wolfgang Amadeus Mozart
* 9.Flower Duet (Lakme) (British Airways TV Ad) - with Leo Delibes
* 10.Spartacus Adagio (The Onedin Line TV series) - with Aram Khachaturian Ilyich
* 11.Gabriel's Oboe (The Mission) - with Ennio Morricone
* 12.Adagio (Platoon) - with Samuel Barber
* 13.O mio babbino caro (Gianni Schicchi) (A Room with a View) – 
   with Peter Ilyich Tchaikovsky
* 14.Goldberg Variations - with Johann Sebastian Bach
* 15.Zion hoert die Waechter singen (Lloyd's Bank TV Ad) - with Johann Sebastian Bach
* 16.Thomas Tallis Fantasia (Master and Commander: The Far Side of the World) – 
   with Ralph Vaughan Williams
* 17.Rhapsody in Blue (Manhattan) - with George Gershwin

Disk 3

* 1.Piano Concerto No. 1 - with Peter Ilyich Tchaikovsky
* 2.Intermezzo (Cavalleria rusticana) - with Pietro Mascagni
* 3.Cello Concerto - with Sir Edward Elgar
* 4.Habanera (Carmen) - with Georges Bizet
* 5.Piano Concerto No. 2 - with Sergei Rachmaninov
* 6.Clair de lune - with Claude Achilly Debussy
* 7.Polovtsian Dance (Prince Igor) - with Alexander Borodin
* 8.Violin Concerto - with Felix Mendelssohn
* 9.Song to the Moon (Rusalka) - with Antonin Dvorak
* 10.Waltz (The Sleeping Beauty) - with Peter Ilyich Tchaikovsky
* 11.Swan Lake Scene - with Peter Ilyich Tchaikovsky
* 12.Gymnopedie No. 1 - with Erik Satie
* 13.Baliero (Chants d'Auvergne) - with Joseph Marie Canteloube
* 14.Piano Concerto No.1 - with Frederic Chopin
* 15.Horn Concerto No. 4 - with Wolfgang Amadeus Mozart
* 16.Nessun dorma (Turandot) - with Giacomo Puccini

Disk 4

* 1.Hallelujah Chorus (Messiah) - with George Frideric Handel
* 2.Jesu, Joy of Man's Desiring - with Johann Sebastian Bach
* 3.Miserare - with Gregorio Allegri
* 4.Requiem aeternam - with Wolfgang Amadeus Mozart
* 5.Laudate Dominum - with Wolfgang Amadeus Mozart
* 6.Ave verum corpus - with Wolfgang Amadeus Mozart
* 7.Ave Maria - with Franz Schubert
* 8.Panis angelicus - with Cesar Franck
* 9.Pie Jesu (Requiem) - with Gabriel Faure
* 10.Ave Maria - with Johann Sebastian Bach, Charles Gounod
* 11.Cantique de Jean Racine - with Gabriel Faure
* 12.Judex (Mors et Vita) - with Charles Gounod
* 13.Ingemisco (Requiem) - with Giuseppe Verdi
* 14.Pie Jesu (Requiem) - with Andrew Lloyd Webber
* 15.Song for Athene - with John Tavener
* 16.Agnus Dei (The Armed Man) - with Karl Jenkins
* 17.Zadok the Priest - with George Frideric Handel

Disk 5

* 1.Spring (The Four Seasons) - with Antonio Vivaldi
* 2.Cello Suite No. 1 - with Johann Sebastian Bach
* 3.Double Violin Concerto - with Johann Sebastian Bach
* 4.Eine kleine Nachtmusik - with Wolfgang Amadeus Mozart
* 5.Emperor Concerto - with Ludwig Van Beethoven
* 6.Pastoral Symphony - with Ludwig Van Beethoven
* 7.Symphony No. 7 - with Ludwig Van Beethoven
* 8.Symphony No. 40 - with Wolfgang Amadeus Mozart
* 9.Violin Concerto No. 1 - with Max Bruch
* 10.Dance of the Read Flutes (The Nutcracker) - with Peter Ilyich Tchaikovsky
* 11.Piano Concerto - with Edvard Grieg
* 12.Symphony No. 2 - with Sergei Rachmaninov
* 13.Romance (The Gadify) - with Dmitri Shostakovich
* 14.The Moldau (Ma Viast) - with Bedrich Smetana
* 15.Meditation (Thais) - with Jules Massenet
* 16.Jupiter (The Planets) - with Jules Massenet

Disk 6

* 1.Toccata and Fugue - with Johann Sebastian Bach
* 2.Candide Overture - with Leonard Bernstein
* 3.The Ride of the Valkyries (Die Walkuere) - with Richard Wagner
* 4.On the Beautiful Blue Danube - with Johann Strauss II
* 5.The Arrival of the Queen of Sheba (Solomon) - with George Frideric Handel
* 6.Trumpet Voluntary - with Jeremiah Clarke
* 7.Symphony No. 5 - with Ludwig Van Beethoven
* 8.Ode to Joy (Choral Symphony) - with Ludwig Van Beethoven
* 9.Carnival of the Animals - with Camille Saint-Saens
* 10.Libiamo (La traviata) - with Giuseppe Verdi
* 11.Finlandia - with Jean Sibelius
* 12.Organ Symphony - with Camille Saint-Saens
* 13.Piano Concerto No. 3 - with Sergei Rachmaninov
* 14.Bolero - with Maurice Ravel
* 15.Radetzky March - with Johann Strauss I
* 16.Land of Hope and Glory - with Sir Edward Elgar
* 17.1812 Overture - with Ludwig Van Beethoven

If, like me, you are seeking an introduction to the more well-known classics, then this should definitely fit the bill. The music is divided into individual categories: Relaxing, TV & Cinema, Romantic, Spiritual, Favourites, Spectacular. Though this is useful at times, I much prefer to listen to a random selection playing on my MP3 player. It has enabled me to identify pieces of music that I liked but was not able to name. It has also introduced me to pieces that I had not heard before and have come to enjoy. Since buying I do feel drawn to seek out quite a number of the complete works, which is exactly the inspiration I was hoping for. Not having purchased similar albums I am not able to compare but this does provide exactly what it claims to - and includes many beautiful pieces. It is excellent value for money, contains so many tracks and a lot of variety. I do not feel a need to purchase other similar combinations, which may have been the case if this had not proved as good. ---Deanne, amazon.com

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001. Die Regensburger Domspatzen/Collegium St. Emmeram/Hans-Rudolf Mueller/Dr. Gerd Ploebsch/Klaus Behrens/
Helmut Najda/Reinhild Schmidt/Georg Ratzinger/Heinz Wildhagen/Dr. Andreas Holschneider - Christmas Oratorio, BWV248/
Part One - For The First Day Of Christmas: No.1 Chorus: 'Jauchzet, frohlocket'
002. Christa Ludwig/MГјnchener Bach-Orchester/Hans-Peter Schweigmann/Hans Weber - Christmas Oratorio, BWV 248/ 
Part One - For The First Day Of Christmas: No.4 Aria (Alto): ' Bereite dich, Zion'
003. Robin Barter/David Briggs/The Choir of King's College, Cambridge/Chris Hazell/Simon Eadon - Once In Royal David's City
004. Anne Sofie von Otter/Ulf Forsberg/Markus Leoson/Karl-August Naegler/Jan Hansson - Il est nГ© le divin enfant
005. Wiener Sangerknaben/Jobst Eberhardt/Job Maarse/Onno Scholtze/Hans-Peter Schweigmann - O Tannenbaum
006. The Boston Pops Orchestra/Gunter Hermanns/Joachim Niss - Sleigh Ride
007. Dietrich Fischer-Dieskau/Jorg Demus/Wolfgang Lohse/Helmut Najda/Hans-Peter Schweigmann
 - Der Hirten Lied Am Krippelein, Op.22, H.1, No.3: Schlaf wohl, du Himmelsknabe
008. The Choir of King's College, Cambridge - The First Nowell
009. Christopher Herrick/The Choir Of Westminster Abbey/Rainer Hoepfner/Jurgen Bulgrin/Dr. Gerd Ploebsch/
Charlotte Kriesch/Hans-Peter Schweigmann - 'Hark! The Herald Angels Sing'
010. The Boston Pops Orchestra - Santa Claus Is Coming To Town
011. Bryn Terfel/Sid McLauchlan/Stephan Flock/Ute Fesquet/Mike Cox - 'Away In A Manger'
012. The English Concert/Trevor Pinnock/Charlotte Kriesch/Hans-Peter Schweigmann/Dr. Gerd Ploebsch/Ulrich Vette/
Bruno Nellesen/Dr. Andreas Holschneider - Concerto Grosso In G Minor, Op.6, No.8 'fatto per la notte di Natale':
6. Pastorale: Largo
013. Irmgard Seefried/Erik Werba - 6 Weihnachtslieder, Op.8: 1. Christbaum
014. Irmgard Seefried/Erik Werba - 6 Weihnachtslieder, Op.8: 3. Die Konige
015. Los Romeros/Matthias Spindler/Sid McLauchlan/Daniel Kemper/Philip Krause - Joy To The World
 - Arranged By Patrick Kerber: 'Joy To The World'
016. Instrumentalensemble der ARCHIV Produktion/Knabenchor Hannover/Karl-Heinz Schneider/Heinz Hennig/
Harro Hell Michna - Hort zu und seid getrost sehr
017. Hannes Laubin/Wolfgang Laubin/Simon Preston/English Chamber Orchestra/Steven Paul/Christian Gansch/
Gernot Von Schultzendorff - Concerto For 2 Trumpets, Strings And Continuo In C, RV 537: 3. Allegro
018. Instrumentalensemble der ARCHIV Produktion/Knabenchor Hannover/Heinz Hennig/Karl-Heinz Schneider/
Harro Hell Michna - Freut euch, ihr lieben Christen
019. Simon Standage/Elizabeth Wilcock/Anthony Pleeth/David Reichenberg/Sophia McKenna/Jeremy Ward/Robert Woolley/
The English Concert/Trevor Pinnock/Dr. Gerd Ploebsch/Dr. Andreas Holschneider/Joachim Niss/Hans-Peter Schweigmann
 - Concerto Grosso In G Minor, Op.6, No.6 HWV 324: 3. Musette (Larghetto)
020. Olaf Baer/Crispian Steele-Perkins/English Baroque Soloists/Karl-August Naegler/Dr. Andreas Holschneider/
Charlotte Kriesch/Gregor Zielinsky - Christmas Oratorio, BWV 248 / Part One - For The First Day Of Christmas: 
No.8 Aria (Bass): 'Grosser Herr, o starker Konig'
021. The Monteverdi Choir/English Baroque Soloists/Charlotte Kriesch/Dr. Andreas Holschneider/Gregor Zielinsky/
Karl-August Naegler - Christmas Oratorio, BWV 248 / Part One - For The First Day Of Christmas: 
No.9 Choral: 'Ach mein herzliebes Jesulein'
022. English Baroque Soloists/Karl-August Naegler/Dr. Andreas Holschneider/Charlotte Kriesch/Gregor Zielinsky
 - Christmas Oratorio, BWV 248 / Part Two - For The Second Day Of Christmas: No.10 Sinfonia

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