RECORDINGS
OF THE MONTH
RECORDING
OF THE MONTH Sir Malcolm ARNOLD (1921-2006) Wind
Chamber Music Wind Quintet, Op.2 (1943) [12:01]
Duo for 2 clarinets, Op. 135, Divertimento (1988) : (I. Allegro
energico [1:40] II. Allegretto [0:48] III. Vivace [0:53] IV.
Lento [1:51] V. Vivace [1:19] VI. Adagio [1:33])* Dream City
(1938) (arr. Paul Harris for wind quintet) [2:58] Hobson's Choice:
Overture (1953) (arr. Uwe Radok for wind octet) [3:30] Grand
Fantasia for flute, clarinet and piano (1940) [10:03] Overture
(1940) (arr. Uwe Radok for wind octet) [3:22] Suite Bourgeoise
for flute, clarinet and piano (c. 1939) [12:05] Scherzetto (arr.
for clarinet and piano from film score You Know What Sailors
Are) (1953) [2:44] Fantasy for solo clarinet,
Op. 87 (1966) [4:05] Fantasy for flute and clarinet (c.
1960s) [1:30] Divertimento for flute, oboe and clarinet, Op.
37 (c. 1952) [9:05] 3 Shanties for wind quintet, Op. 4 (1943)
[6:57] 
East Winds:
(Judith Treggor (flute); Joseph Sanders (oboe); Victoria Soames
Samek (clarinet); Jonathan Hassan (French horn); Lizbeth Elliott
(bassoon)) Paul Chilvers (piano); Veda Lin (second oboe); Allison
Rosser (second clarinet); Duncan Fuller (second French horn);
Lauren Barr (second bassoon) rec. 22-23 June 2006, Potton Hall,
Suffolk, England. DDD *op. 135 movements are separated and alternate
with successive works NAXOS
8.570294 [76:24] [MC]
On
this Naxos release Sir Malcolm is in his element with these excellently
performed wind chamber scores and I was with him all the way. ...
see Full Review
RECORDING
OF THE MONTH Johann Sebastian
BACH (1685-1750) Cello
Suites CD 1 No. 1 in G major
BWV 1007 [16:11] No. 2 in D minor BWV 1008 [17:27] No. 3 in C
major BWV 1009 [19:46] No. 4 in E flat major BWV 1010 [21:35] CD
2 No. 5 in C minor BWV 1011 [24:06] No. 6 in D major
BWV 1012 [27:26] The Song of the Birds (arr. Sally Beamish)
[2:44] Prelude from Cello Suite No.1 (Anna Magdalena manuscript)
[2:24] Prelude from Cello Suite No.1 (Johann Peter Kellner manuscript)
[2:21] Prelude from Cello Suite No.1 (Johann Christoph Westphal
collection) [2:29] Steven
Isserlis (cello) rec. Henry Wood Hall, London 4-8 December 2005
(CD1, CD2 Song, Preludes), and 17-19 July 2006 (CD2 Suites 5,
6) HYPERION
CDA67541/2 [75.10 + 61:58] [DC]
Something
like being presented with the St. Matthew Passion on a single instrument … the
best of the best in this most personal of all possible worlds ...
see Full Review
HISTORICAL
RECORDING OF THE MONTH Ludwig
van BEETHOVEN
(1770-1827) Symphony
No.3 in E flat major Op.55 Eroica (1804)
[52:05] Alexander
GLAZUNOV (1865-1936) Stenka
Razin – symphonic poem in B minor Op.13
(1886) [18:52] Vienna
Philharmonic Orchestra/Wilhelm Furtwängler
– Beethoven [Berlin Philharmonic Orchestra/Leo
Borchard] – Glazunov; claimed to be Vienna
Philharmonic Orchestra/Wilhelm Furtwängler
rec.16 December 1944 (Beethoven) and (2 February
1945 - Glazunov)
MELODIYA MEL CD 10 01106 [70:57] [JW]
Furtwängler’s
Eroica - the most dramatic and the most intense.
... see Full
Review
RECORDING
OF THE MONTH Ludwig
van BEETHOVEN (1770-1827) Symphony No. 8 in F major,
Op. 93 (1812) [23:13] König Stephan,
Op.117 (1811): Overture [6:24], Siegesmarch
[3:01], Geistlicher marsch [1:21]
Ruins of Athens, Op. 113 (1811): Overture
[4:17], Turkish March [1:52] Fidelio
Overture, Op. 72b (1814) [5:58] Tarpeja,
WoO2 (1813): Introduction to Act 2 [1:56],
Triumphal March [2:20] Namensfeier
Overture, Op. 115 (1814-15) [6:27] Wellington’s
Victory, Op. 91 (1813) [14:55]
Swedish Chamber Orchestra Örebro/Thomas Dausgaard
rec. Örebro Concert Hall, October 2002, September
2003, September 2004, September 2005. DDD
SIMAX PSC 1282 [71:44][MG]
An
enlightening CD of fresh performances and stimulating contrasts, through
which you discover an unexpected masterpiece. … see Full
Review
RECORDING
OF THE MONTH Claude DEBUSSY
(1862-1918) La Mer: trois esquisses symphoniques
(1903-05) [24:51] Claude DEBUSSY arranged
for orchestra by Colin MATTHEWS (b. 1946)
Préludes (1910-1912, arrs, 2001-06):- Brouillards (Book II No. 1)
[4:03] Ce qu’a vu le vent d’Ouest (Book I, No. 7) [3:10] Minstrels (Book
I No 12) [2:39] Canope (Book II No 10) [2:57] Les sons et les parfums
tournent dans l’air du soir (Book I No 4) [3:53] La Puerta del Vino
(Book II No 3) [3:38] Général Lavine – eccentric (Book II No. 6) [3:15]
Feuilles mortes (Book II No 2) [3:36] Les tierces alternées (Book II
No. 11) [3:12] La danse de Puck (Book I No 11) [3:03] Le vent dans
la
plaine (Book I No 3) [2:55] La fille aux cheveux de lin (Book I No
8)*[5:00] Hallé Orchestra/Mark
Elder rec. 14–16 July 2006; *2 August 2006, BBC Studio 7, New Broadcasting
House, Manchester. DDD HALLÉ CD
HLL 7513 [67:24][JQ]
This
release is an out-and-out winner. ... see Full
Review
RECORDING
OF THE MONTH Claudio
MONTEVERDI (1567-1643) Madrigali
guerrieri et amorosi: libro ottavo (1638) 1. Combattimento
di Tancredi e Clorinda [22:03] 2. Il Ballo delle ingrate [36:10]
3. Sinfonia a doi violini e una viola di brazzo [0:45] 4. Altri
canti d’amor, tenero arciero, a sei voci con quattro viole e
doi violini [9:52] 5. Lamento de la Ninfa [4:43] 6. Vago augelletto,
che cantando vai, a sei e sette voci con doi violini e un contrabasso
[5:42] 7. Perchè t’ en fuggi, o fillide? A
tre (alto, tenore e basso) [5:59] 8. Altri canti
di marte, a sei voci et doi violini [8:59] 9. Ogni amante è guerrier
[14:18] 10. Hor che ’l ciel e la terra e ’l vento tace, a sei
voci con doi violini [10:46] 11. Gira il nemico, insidioso amore
[5:43] 12. Dolcissimo uscignolo, a cinque voci, cantato a voce
piena, alla francese [3:42] 13. Ardo, ardo, avvampo, mi struggo,
a otto voci con doi violini [4:16] 14. Introduzione e ballo [9:40]
15. Se vittoria sì belle, a doi tenori [2:39] 16. Su, su, su,
pastorelli vezzosi, a tre, doi canti e alto [2:33] 17. Ardo e
scoprir, ahi lasso, io non ardisco, a doi tenori [3:30] 18. Chi
vol aver felice e lieto il core, a cinque voci, cantato a voce
piena, alla francese [2:06] 19. Armato il cor d’adamantina fede,
a doi tenore [2:20] 20. Non partir ritrosetta, a tre, doi alti
e basso [4:17] 21. O sia tranquillo il mare, a doi tenori [4:20]
22. Mentre vaga angiolwtta, a doi tenori [9:31] 23. Ninfa che,
scalza il piede [5:19] Concerto
Italiano/Rinasso Alessandrini rec. (1-3) January 1998, Centro
Giovanni XXIII, Frascati, Italy; (4-13) February 1997, Salone
della Musica, Villa Medici, Ora Giulini, Briosco, Italy; (14-23)
December 2005, Palazzo Farnese, Rome, Italy. OPUS
111 OP30435 [3 CDs: 58:24 + 75:11 +
46:22] [GPu]
A
glorious, theatrical recording of Monteverdi’s final collection
of madrigals, vivid, energetic, full of contrast and power, subtlety
and rhythmic vitality … see Full
Review
RECORDING
OF THE MONTH Francis George
SCOTT (1880-1958) Moonstruck
– The Songs of F G Scott 1. Milkwort and Bog-cotton [2.32]; 2.
Crowdiknowe [1.36]; 3. Moonstruck [2.37]; 4. The Eemis Stane [2.03];
5.
The Sauchs in the Reuch Heuch Hauch [1.12]; 6.
Ay Waukin, O [3.52]; 7. Amang
the Trees [1.26]; 8. The Discreet Hint
[1.36]; 9. Je descendis dans mon jardin
[2.22]; 10. Florine [1.46]; 11. Lourd
on my hert [1.22]; 12. The Watergaw [2.26]; 13. Country
Life [1.14]; 14. Wheesht, Wheest [1.31]; 15. O, wha
my babie-clouts will buy? [2.04]; 16. My wife's a wanton we thing
[1.33]; 17. The Inumerable Christ [3.06]; 18. I wha
aince in Heavens' Heicht [1.24]; 19. An Apprentice Angel [2.08];
20. Hungry Waters
[1.49]; 21. Te Deil o'Bogie
[2.48]; 22. To a Lady
[2.32]; 23. Cupid and Venus
[2.33]; 24. The Old Fisherman [2.24];
25. Im Tiroler Wirsthaus [1.02]; 26. In Time
of Tumult [2.05]; 27. The Man in the Moon [2.07];
28. First Love
[1.46]; 29. Empty Vessel [1.13];
30. The Wren's Nest [1.09];
31. Love of Alba
[1.53]; 32. The Wee Man [1.10];
Total running time: [62.26]
Lisa Milne (soprano) Roderick Williams (baritone) Iain Burnside
(piano) rec. The Warehouse, London 13-14 March, 15-16 July 2006. DDD
SIGNUM CLASSICS SIGCD
096 [62:26][CSS]
This
is a Must! ... see Full Review
HISTORICAL
RECORDING OF THE MONTH Jean
SIBELIUS
(1865-1957) Violin
Concerto Op. 47 (1903 rev. 1905) [30:37] En
Saga, Op.9 (1892/1902) [20:08] Ludwig
van BEETHOVEN (1770-1827) Coriolan
Overture Op.62 (1807) [9:00]
Georg Kulenkampff (violin) Berlin Philharmonic
Orchestra/Wilhelm Furtwängler rec. Berlin
7 February 1942; 27 June 1943 (Coriolan)
MELODIYA MEL CD 10 01109 [59:49] [JW]
Adherents
of the concerto should have this Kulenkampff,
along with the Ignatius, Wicks, Neveu and
Heifetz. Others should get it anyway in whichever
incarnation they may find it. ... see Full
Review
RECORDING
OF THE MONTH Richard STRAUSS (1864–1949) Salome,
Op. 54 (1905) Final Scene 1. Ah! Du wolltest mich nicht
deinen Mund küssen lassen, Jochanaan! [15:56] Capriccio,
Op. 85 (1942) Final Scene 2. Interlude: Mondscheinmusik [3:14]
3. Morgen mittag um elf! [15:51]Vier letzte Lieder Op.
posth. (1948) 4. Frühling [3:10] 5. September [4:42]
6. Beim Schlafengehen [5:11] 7. Im Abendrot [7:35] Nina
Stemme (soprano) Gerhard Siegel (tenor) (1), Liora Grodnikaite
(mezzo) (1), Jeremy White (bass) (2), Richard Clews (horn solo)
(5), Peter Manning (violin solo) (6) Orchestra of the Royal Opera
House, Covent Garden/Antonio Pappano rec. Studio No. 1, Abbey
Road, London, on 1-2, 4-5, 11 September 2006 EMI
CLASSICS 3787972 [56:22] [GF]
This
is a disc that should find a place in every Strauss lover’s collection
... see Full Review
RECORDING
OF THE MONTH British
Horn Concertos Gordon
JACOB (1895-1984)
Concerto
for Horn and Strings (1950s) [20:35]
Malcolm ARNOLD
(1921-2006) Concerto
No. 2 for Horn and Strings, Op. 58 (1956)
[14:03] York
BOWEN (1884-1961)
Concerto for Horn, string orchestra and
timpani (1956) [16:27]
Ruth GIPPS
(1921-1999) Horn
Concerto, Op. 58 (1968) [17:11] Gilbert
VINTER (1909-1969)
Hunter’s Moon (1943) [6:22]
David Pyatt (horn) London Philharmonic Orchestra/Nicholas
Braithwaite rec. Watford Town Hall, 10-21
Jan 1994 (Jacob, Bowen, Arnold); Henry Wood
Hall, London, 8-9 Feb 1994 (Gipps, Vinter).
DDD
LYRITA SRCD.316 [74:42] [JQ]
For
sheer listening pleasure this is one of the best discs to have come
my way for a long time. ... see Full
Review
BARGAINS
OF THE MONTH
BARGAIN
OF THE MONTH Benjamin
BRITTEN (1913-1976) The Complete Purcell Realizations
CD 1: Songs from Orpheus Britannicus
The knotting song (1939, publ. 1994) [2:04] JB Seven
songs (1947): Fairest Isle [2:20] FL; If music be the food of love
[4:10] JMA; Turn then thine eyes [1:34] JMA; Music for a while [3:14]
SW; Pious Celinda [1:25] IB; I:ll sail upon the Dog-star [1:23] RJ;
On the brow of Richmond Hill [1:50] ARJ Six songs (1948): Mad
Bess [5:23] SW; If music be the food of love [2:08] FL; There:s not
a swain of the plain [0:52] IB; Not all my torments [2:41] JB; Man is
for the Woman made [1:07] ARJ; Sweeter than roses [3:42] FL O Solitude
(1955) [6:28] JMA Five songs (1960): I attempt from Love:s sickness
to fly [2:12] SG; I take no pleasure [1:44] IB; Hark the ech:ing air!
[2:28] FL; Take not a woman:s anger ill [1:28] JMA; How blest are Shepherds
[3:29] JMA Celemene (1946, publ. 1994) [3:52] SG, IB Six duets
(1961): Sound the Trumpet [2:24] ARJ, JMA; I spy Celia [4:05] IB, RJ;
Lost is my quiet [3:18] SG, SW; What can we poor females do? [1:12]
SG, SW; No, Resistance is but vain [5:35] SW, RJ; Shepherd, leave decoying
[1:17] SG, SW CD 2: Songs from Harmonia
Sacra The Queen's Epicedium (1946) [7:24] IB The Blessed
Virgin:s Expostulation (1947) [7:25] FL Saul and the witch at
Endor (1947) [11:46] SW, JMA, SK Three divine hymns (1947):
Lord, what is man? [6:09] FL; We sing to him [1:54] JB; Evening hymn
[4:35] FL Job's Curse (1950) [5:08] SK Two divine hymns and
Alleluia (1960) [9:41] ARJ Dulcibella
(1971, publ. 1994) [2:09] IB, RJ When Myra sings (1971,
publ. 1994) [2:45] IB, RJ Let the dreadful engines of eternal will
(1971) [7:57] SK
Felicity Lott, Susan Gritton (sopranos); Sarah Walker (mezzo); James
Bowman (counter-tenor); John Mark Ainsley, Ian Bostridge, Anthony Rolfe
Johnson (tenors); Richard Jackson, Simon Keenlyside (baritone); Graham
Johnson (piano) rec. Rosslyn Hill Unitarian Chapel, London, 5–10 January
1995. DDD.
HYPERION DYAD CDD22058 [70:17 + 73:20][ED]
I
have been listening to these two generously filled discs, searching
for reasons not to buy them. I have not thought of a single one. ...
see Full Review
BARGAIN
OF THE MONTH Wolfgang Amadeus
MOZART (1756-1791)
Concertos
for Horn and Orchestraa – No. 1 in D, K386b (1791?) [8:16];
No. 2 in E flat, K417 (1783) [13:44]; No. 3 in E flat, K447 (1784-87)
[15:53]; No. 4 in E flat, K495 (1786) [16:05]. Quintet for Piano and
wind Instruments, K452b (1784) [21:30].
aDennis Brain (horn); bWalter Gieseking (piano); aPhilharmonia
Orchestra/Herbert von Karajan; bPhilharmonia Wind Ensemble
(Sidney Sutcliffe (oboe); Bernard Walton (clarinet); Dennis Brain (horn);
Cecil James, (bassoon)) rec. aKingsway Hall, London, 12-13,
23 November 1953; bEMI Abbey Road Studio No. 1, London, 15
April 1955. ADD NAXOS
HISTORICAL 8.111070 [75:16][CC]
This
disc is pure joy. At the price, it is almost a crime not to snap it
up. This is as near to flawless horn playing as we can expect this side
of the veil. ... see Full
Review
BARGAIN
OF THE MONTH Sergei RACHMANINOV (1873-1943) Complete
Songs Joan
Rodgers (soprano), Maria Popescu (mezzo-soprano), Alexandre
Naoumenko (tenor), Sergei Leiferkus (bass) Howard Shelley
(piano) rec. St. Michael’s Church, Highgate, London 1994-95 BRILLIANT
CLASSICS 8531 [3 CDs: 76:01 + 71:54 + 68:00] [JW]
These
decade-old recordings have stood the test of time. The set is something
of a steal. ... see Full Review
BARGAIN
OF THE MONTH Karol SZYMANOWSKI
(1882-1937) Violin Concerto No.1 Op.35 (1916) [26:09] Violin Concerto
No.2 Op.61 (1932-33) [22:13] Nocturne and Tarantella Op.28 (1915)
orch. Grzegorz Fitelberg [11:51]
Ilya Kaler (violin) Warsaw Philharmonic Orchestra/Antoni Wit rec. Philharmonic
Hall, Warsaw, September 2006
NAXOS 8.557981 [60:12][JW]
Excellent
sound, intelligently argued performances and instrumental finesse -
a handsome bargain at whatever price bracket. ... see Full
Review
BARGAIN
OF THE MONTH American Choral
Music Vincent PERSICHETTI
(1915-1987) Flower Songs, Op. 157 (1983) [19:25] Charles
IVES (1874-1954) Psalm 90 (1923-24) [11:06] John
CORIGLIANO (b. 1938) Fern Hill* (1960) [15:33] Lukas
FOSS (b. 1922) Behold, I build an House (1950) [10:05] Aaron
COPLAND (1900-1990) In the Beginning* (1947) [16:02]
Suzanne Mentzer (mezzo)* The University of Texas
Chamber Singers and Chamber Orchestra/James Morrow rec. 21-22 January
2006, Bates Recital Hall, School of Music, University of Texas, Austin.
DDD NAXOS AMERICAN CLASSICS
8.559299 [72:11][JQ]
A
very stimulating collection of fine performances of mainly unfamiliar
repertoire ... see Full Review
BARGAIN
OF THE MONTH The
British Light Music Collection 1 CD1 Sir
Malcolm ARNOLD (1921-2006) The Roots Of Heaven – Overture
(1958) [5:03] William ALWYN (1905-1985) Suite
of Scottish Dances (The Indian Queen; A Trip to Italy;
Colonel Thornton's Strathspey; The Perthshire Hunt – Reel;
Loch Earn – Reel; Carleton House; Miss Ann Carnegie's Hornpipe)
(1946) [6:37] Sir Malcolm SARGENT (1895-1967) An
Impression on a Windy Day (1927) [7:14] Clifton
PARKER (1905-1989) The Glass Slipper – Overture
[3:37] James LANGLEY (1927-1994) The
Coloured Counties [5:52] Gordon
JACOB (1895-1984) The Barber of Seville Goes
to the Devil Overture [4:29] Maurice
JOHNSTONE (1900-1976) Tarn Hows - A Cumbrian
Rhapsody (1949) [13:56] Alan
LANGFORD (b.1928) Two Worlds - Overture
[5:11] Sir Richard Rodney BENNETT (b.1936) Little
Suite (The Bird's Lament; The Widow Bird; The Ladybird;
Glow-worms; The Lark) (1965) [9:49] David
LYON (b.1938) Joie De Vivre - Overture (1972)
[6:50] CD2 Malcolm ARNOLD (1921-2006) Little
Suite No.4, Op.80a (orch. Lane) (Prelude; Siciliano; Rondo)
(1963) [7:30] William BLEZARD (b.
1921) The River (1969) [6:11]Adrian
CRUFT (1921-1987) Traditional Hornpipe Suite (Newcastle
and Navvie; Irish; Del Caro's; Oak Hill; Fisher's; Billy Bones)
[7:04] Eric FENBY (1906-1997) Rossini
On Ilkla Moor - Overture (1938) [6:35] Raymond
WARREN (b.1928) Wexford Bells - Suite on Old
Irish Tunes (1970) (Shepherds' Dance'; Lute Book Lullaby;
Christmas Jig; Wexford Bells) [10:30] Arthur
BUTTERWORTH (b.1923) The Path Across The Moors (1958)
[6:39] Anthony HEDGES (b.
1931) An Ayrshire Serenade, Op.42 (1971) (Allegro
moderato; Andantino; Molto vivace) [10:08] Paul
LEWIS (b.1943) An English Overture (1971)
[5:25] Philip LANE (b.1950) Suite
of Cotswold Folk Dances (1978) (Wheatly Processional; Constant
Billy; Brighton Camp; Jockie to the Fair; Ladies of Pleasure;
Princess Royal) [11:40] Royal
Ballet Sinfonia/Kenneth Alwyn; Gavin Sutherland rec. Whitfield
Street Studios, London, 1-2 April 1998; 24 June, 15 September
1999. DDD RESONANCE
CDRSB205 [70:11 + 74:08] [RB]
Light
music of euphoria and contentment ... see Full
Review
Detailed
listing (last
five days)]
[Part 1 New]
[Part
2 A-B]
[Part 3 C-L]
[Part 4 M-R]
[Part 5 S-Z]
[Part 6 Misc A-L][Part
7 Misc M-Z]
[Recommended
recordings]
This
is one of three big boxes from EMI –
the others feature Mozart and Schubert –
which represent something of a departure for
a major company. EMI have probably issued
comparable size boxes before but most probably
in anniversary or complete edition mode, and
undoubtedly costing more than this one which
comes in at hardly more than £1 a disc.
That territory belongs to the likes of Brilliant
Classics who issued some 40 disc boxes of
major composers about three years ago at under
£1 per disc. I am not sure quite who
these very cheap mega-boxes are aimed at but
we’ll come back to that later.
The arbitrary number of 50 CDs probably fits
Beethoven quite well – better than Mozart
or Schubert – because this does allow
coverage of just about all his major works.
Reviewing the list of those played here against
a catalogue of the composer’s published
opuses, there is not much missing – a
couple of overtures, the two string quintets,
woodwind trio and horn sonata seem to be the
most important items not included. And these
could probably have been squeezed in –
I presume that suitable recordings were not
to hand. There are not many "WoOs"
but there again few, if any, of Beethoven’s
unpublished works are masterpieces. So, in
terms of coverage, this set would give you
a recording of almost everything significant
that Beethoven wrote.
Next I will give you
an overview of the box and then we’ll
come back to the different elements in more
detail; this section is really about testing
out whether you might just be interested.
In physical terms, it is only about the size
of a CD case cubed – a very positive
feature – and some of the artists are
listed on the side. Karajan and Giulini are
at the top of the list although they conduct
but one and two works respectively, albeit
major ones. Once one has mastered how to open
the box, essentially by dismantling it, the
contents look crammed but there is quite a
lot of extraneous cardboard inside to hold
the paper-thin disc envelopes in place. For
one moment I mistook the cardboard for two
chunky booklets but, in terms of documentation,
there is simply a track listing. Dates of
recordings are given in years and on a "wholesale"
basis – for example the piano sonatas
are noted as 1968-1974. The earliest date
seems to be 1957 so it seems likely that all
are in stereo and the two violin romances
from 1996 appear to be the only digital recordings.
They seem to be there merely to allow "ADD/DDD"
to be claimed. Shame on you EMI, particularly
as Menuhin’s performances of these works
would have done nicely and legitimately allowed
another big name to be placed on the side
on the box. Most of the material is from the
late 1950s and 1960s and some of it may be
having a last outing before EMI lose the exclusivity
of the copyright. Nevertheless, apart from
the odd exception, the sound quality should
not be a deterrent. As we will see, most of
these recordings are worth having and few
of them are otherwise available at the moment.
For the most part, the various genres are
effectively complete sets by the same artists
– the major exception is the piano concertos
for which Emil Gilels plays the first, second
and fourth, and Bruno Leonardo Gelber plays
the third and fifth. The symphonies and overtures
are played by the Berlin Philharmonic Orchestra
under André Cluytens, and the soloist
in the violin concerto is David Oistrakh.
The piano sonatas are the work of Eric Heidsieck
who also partners Paul Tortelier in the cello
sonatas. In the violin sonatas Christian Ferras
is accompanied by Pierre Barbizet. The string
quartets are the later recordings of the Hungarian
String Quartet and the Hungarian Trio feature
in the piano trios - they were two completely
separate groups. The Melos Ensemble play the
large chamber works: the Piano Quintet, Sextet,
Septet and Octet. In the sacred choral music
we get Giulini’s Missa Solemnis and Mass
in C. Fidelio is Karajan’s 1971 recording
featuring Jon Vickers and Helga Dernesch in
the leading roles. The final disc has Birgit
Nilsson singing Ah, Perfido! and Dietrich
Fischer-Dieskau singing lieder. So, if enough
of that appeals, read on!
Symphonies and Overtures
The cycle of symphonies
recorded by André Cluytens with the
Berlin Philharmonic Orchestra in the late
1950s is consistently good. It was once a
mainstay of the Classics for Pleasure LP catalogue
and has been out on CD before on Royal Classics.
The sound is indistinguishable from that issue
with quality which is about average for its
early stereo vintage although rather light
in the bass. It will be interesting to see
what the likes of Mark Obert-Thorn or Andrew
Rose can do with it when the copyright expires
in a year or two. The playing of the Berlin
Philharmonic is highly committed throughout
the cycle without being as pristine as it
later was in Karajan’s cycles for DG.
In terms of interpretations, the Eroica and
the Choral symphonies are not quite as stirring
as they can be but the fifth, sixth and seventh
symphonies are readings of the highest order.
In the Pastoral symphony Cluytens captures
perfectly the spirit of each movement and,
if there is a better version of this work
on record, I haven’t yet heard it. In
the ninth symphony Cluytens takes a generally
spacious view. Frederick Guthrie is a slightly
disappointing bass soloist but the other vocal
contributions hit the spot, particularly tenor
Nicolai Gedda. The same forces also give us
six overtures in the same vein with the Leonoras
being represented by No. 3.
Concertos
David Oistrakh is the
soloist in the violin concerto, a reading
emphasising beauty and notable for a very
long-breathed first movement. He is well supported
by Cluytens, here conducting French radio
orchestral forces. Afterwards John Lill plays
the solo part in the wonderful Choral Fantasy
with its pre-echoes of the ninth symphony.
Alexander Gibson directs the erstwhile Scottish
National Orchestra – and presumably their
chorus although this is not stated –
in a splendid reading, again coming from the
Classics for Pleasure LP catalogue. These
recordings have come up well on CD but the
sound quality in the other concerto recordings
is generally much less convincing. The Triple
Concerto takes the wooden spoon in the whole
box in this regard. Lev Oborin is the pianist
but his piano seems to be in a world of its
own or possibly in a bathroom. David Oistrakh
and Sviatoslav Knushevitsky are more central
to the sound picture and the late 1950s Philharmonia
Orchestra is conducted by Sir Malcolm Sargent.
As an interpretation it is fair enough but
it is hard to believe EMI doesn’t have
something better sounding in the vaults. The
Gilels recordings of the first and second
piano concertos have rather better sound but,
as in other recordings from EMI France of
the period, they are light in the bass. Gilels
is sometimes wayward – for example in
the slow movement of the first concerto which
is taken at an exaggeratedly slow tempo. He
also lingers a little in the slow movement
of the second concerto but less intrusively
and there is real poetry here. He is nothing
short of majestic throughout the fourth concerto
which was recorded with the Philharmonia Orchestra
under Leopold Ludwig in markedly better sound
– this is one of the gems of the box.
Bruno Leonardo Gelber’s third and fifth
were made about a decade later with the New
Philharmonia Orchestra under Ferdinand Leitner.
Gelber‘s readings are powerful conceptions
and he is well supported by Leitner. Tempi
tend towards extremes and just occasionally
the music almost runs away from him. The recorded
sound is rather inconsistent – mostly
it is unobtrusive but there are some patches
of hardness and unnatural piano tone. Overall,
the concertos are a mixed bag that made me
hanker for the likes of Perahia and Kovacevich
but I shall certainly return to Gilels in
the fourth piano concerto.
String quartets
The Hungarian String
Quartet’s 1960s cycle sounds well and
is made up of consistently well-played if
not very distinctive readings. Whilst the
greatness that beckons from the last of the
Op.18 quartets is here evident – the
slow introduction to the finale is magnificently
played – the Razumovsky’s are less
successful, particularly Op.59 No 3. The next
quartet – The Harp – almost makes
up for that and with No. 12 the Hungarians
step up a gear. Their readings of the late
works lack a little of the intensity of the
Lindsays and more closely resemble the Talich
quartet’s approach. Ultimately this is
easier listening if less moving. The Große
Fuge is included in its original place in
Op.130, which is fair enough, and the finale
which was written to replace it follows on.
Oddly, having followed the published order
all the way to the last two quartets, these
are reversed when Op.135 could easily have
fitted on the same disc as Op.132. These recordings
on LP were my introduction to the Beethoven
quartets and I enjoyed revisiting them.
Trios
The Piano trios included
here are the six works in the regular canon
plus the early trio in E flat (WoO38), two
sets of variations (Kakadu and Op.44) and
the single movement Allegretto, all played
by the Hungarian Trio. The Op.11 trio is given
in the clarinet version with André
Boutard as the clarinettist. These recordings
date from about 1960 and sound well for their
age. The Hungarian Trio proves to be a reliable
guide and in its hands the merits of the three
works Beethoven published as Op.1 are readily
appreciated. They are also very fine in the
later works – the two Op.70 trios and
the Archduke. In the latter they find fun
in scherzo and plumb the depths of the slow
movement most affectingly. Beethoven’s
string trios are all early works – the
opus numbers are 3, 8 and 9 with the latter
being a set of three works, all in standard
four movement format. The earliest work interpolates
two extra minuets and Op. 8 has five movements
and the title Serenade. These five works are
effectively performed by the Trio à
cordes Francais.
Miscellaneous chamber
works
Tucked away in the
middle of the set on CDs 33 and 34 are two
discs of relatively rare music for small forces.
The first of these starts with four works
for mandolin and harpsichord. Marked Siciliano,
Allegro, Adagio and Andante with variations
respectively they form represent a charming
suite without ever sounding like Beethoven.
Apparently they were first performed in 1796
but I haven’t been able to find out anything
else about them. The Op.25 flute Serenade
is reasonably familiar and Michel Debost’s
flute is a joy to hear. He also plays in the
trio for flute, bassoon and piano WoO37 which
follows. In this work bassoonist Amaury Wallez
has no walk on part and the combination works
well. The opener on disc 34 is a B flat flute
sonata in four movements which is attributed
to Beethoven although Grove online lists it
in the "doubtful authenticity" category
and it doesn’t even have a WoO number.
There follows ten of the Airs variés
for flute and piano, an assortment from Opp.105
and 107 in no particular order. These seem
to be inspired by folk-songs from various
places around Europe. Debost is partnered
by pianist Christian Ivaldi throughout the
disc, all of which is pleasant enough –
the lighter side of the great man.
About ten discs later
on the Melos Ensemble play the chamber works
for larger forces – the Piano/Wind Quintet,
Sextet with two horns, Septet and Wind Octet.
These are all excellent performances decently
recorded. The Quintet is a relatively early
work modelled on Mozart’s K452 but by
no means superior to it. The Septet is well-known
but less deserving of it than the Sextet Op.
81b and Octet Op.103, both marvellously original
works dating from 1810 and around 1792 respectively
- the opus number of the latter is misleading.
Violin and cello sonatas
The ten violin sonatas
are represented by the generally easy-going
readings of Christian Ferras from the very
end of the 1950s. His often sweet tone was
well-captured by the recording and he had
a sympathetic accompanist in Pierre Barbizet.
There are few ups and downs although the A
major sonata Op.30 No.1 isn’t totally
convincing. Otherwise this is a cycle of increasing
power, properly peaking with the last three
sonatas. The Kreutzer is particularly fine
and Op.96 has poise and restrained lyricism.
This repertoire has been dominated by Perlman
and Ashkenazy on Decca for many years; these
readings do not reach their heights but are
nevertheless a valid alternative.
Paul Tortelier features on two discs containing
the five cello sonatas and three sets of variations
– on themes from Judas Maccabeus and
Die Zauberflöte. He is partnered by Eric
Heidsieck who is sympathetic and much less
erratic than in his recordings of the piano
sonatas (see below). Tortelier’s approach
is generally lyrical and slightly restrained
although he does cut loose at the right moments,
notably in the greatest of the sonatas –
the A major Op.69. I enjoyed these readings
immensely – definitely one of the jewels
of this box although it is worth noting that
they are available separately as a bargain
twofer (569422-2).
Piano music
Eric Heidsieck’s
readings of the piano sonatas are frustratingly
variable and, arguably, the principal Achilles
heel of the set. In the early works in particular
he is very free with variations in tempo.
I was sometime left feeling that Beethoven
was at the service of his considerable virtuosity
rather than the reverse. In general, this
is a cycle which improves as one goes through
it but there are some significant disappointments
in both early and late works – most notably
Op.10 No.3 and the Hammerklavier, both of
which have outer movements which sound quite
mannered. The Pastorale is engaging in the
outer movements but spoilt by perverse basic
tempi in a very brisk Andante and turgid scherzo.
Heidsieck certainly took Beethoven’s
tempo marking of Presto seriously and had
the technique to do so. Unfortunately though,
the finales of the Moonlight and Appassionata
only just avoid running away from him. There
are some successes – notably Op.7, Op.22
and the Waldstein. Some of the smaller, more
relaxed works such as Opp.54 and 78 also go
rather well. Heidsieck turns the Rondo finale
of Op.49 No.1 into a creation that sounds
as the opus number might reflect when it was
written. Since the work was probably the very
first, this might not be considered an advantage.
In the great final trilogy Heidsieck is at
his very best in Op.111 which is a finely
sustained reading. The recorded sound is perfectly
acceptable – and consistent – but
I don’t think this cycle would be a good
choice as one’s only versions of the
sonatas. I would rate it some way behind Daniel
Barenboim’s EMI series which was made
in same period.
Apart from the sonatas there are three other
discs of piano music in the box – one
with the Diabelli variations, one of the bagatelles
and one of odds and ends with the Eroica variations
being much the most important work. The first
two and most of the third are played by Georges
Solchany who was the pianist of the Hungarian
Trio. The Diabelli variations are well-played
technically but sound a bit literal at times
and this is no match for the fantasy of Stephen
Kovacevich (then Bishop) who made a recording
for Philips at around the same time (1970).
In the bagatelles Solchany plays all of the
Opp.33, 119 and 126 sets and a couple of extras.
He captures their frequent quirkiness well
and I found this disc most enjoyable. The
Eroica variations are good too although the
rest of the items on disc 19 are among the
least essential works in the set – for
example the God save the King variations,
here played by Georges Cziffra.
Choral Music
Beethoven’s sacred
choral music is represented by three works
on three discs – the Missa Solemnis,
Mass in C and Oratorio Christ on the Mount
of Olives. The latter is a rarity and its
opus number of 85 does not reflect its composition
in 1803. The performance comes from Bonn in
1970 and is directed by Volker Wangerheim.
Nicolai Gedda is in good voice as Christ in
a work which Beethoven seems to pay homage
to Bach. Both masses are conducted by Carlo
Maria Giulini with London-based forces recorded
in the 1970s. Soloists are starry - Janet
Baker is mezzo-soprano in both works –
and the recorded sound is decent. Thirty-plus
years on Giulini’s deliberate approach
seems old-fashioned although the dedication
shines through. The end results though, particularly
in the Missa Solemnis, seem to me to suffer
from the lack of momentum.
Fidelio
Karajan’s 1970
Fidelio doesn’t seem to be otherwise
available at the moment. As one would expect,
the Berlin Philharmonic Orchestra plays superbly
and it is well-recorded. Compared to the Klemperer
recording made a few years earlier by EMI
it is relatively light in feeling, both less
dramatic and atmospheric. For example the
opening scene of Act II doesn’t feel
like it is set in a dungeon. Jon Vickers –
also Florestan for Klemperer – is excellent
and Helga Dernesch sings Leonore very well.
There is a smattering of dialogue which often
seems understated. The booklet credits Karl
Ridderbusch as the villain Don Pizarro and
fails to name Rocco. Two other sources I have
checked indicate that Zoltan Keleman sings
Pizarro and Ridderbusch sings Rocco.
Songs
On the final disc,
Ah, perfido! comes off very well for Birgit
Nilsson who is accompanied by the Philharmonia
Orchestra under Heinz Wallberg. The late-1950s
sound quality for the lieder which make up
the rest of the disc is less sympathetic but
Dietrich Fischer-Dieskau is in very fine voice.
In the great cycle An die ferne Geliebte he
is wonderfully accompanied by Gerald Moore
making this is a most treasurable version.
Conclusions
This review comes with
the caveat that, although in a few cases I
knew the recording already, it is based on
only one hearing of each disc during an intensive
month of listening to Beethoven and almost
nothing else. It has generally been a positive
experience. Unsurprisingly there are some
highs and lows but perhaps the general level
of artistic and technical consistency throughout
the box is worthy of some emphasis. There
are just a few records I would not want to
be without – Cluytens in the Pastoral
symphony, Gilels in the fourth piano concerto,
Tortelier in the third cello sonata and Fischer
Dieskau in An die ferne Geliebte spring most
readily to mind. There is probably just one
piece that I will only play again if pressed
– the Triple Concerto – and most
of the rest fall into the worthy enough category.
To return to the question of who is this box
for? The relative newcomer to collecting recorded
classical music should really be discovering
a range of composers before they cover one
as broadly as is done here but, if they are
set on acquiring a large dose of Beethoven
cheaply, this would certainly fit the bill.
People like myself who grew up with some of
these recordings in LP days might want to
revisit the era and plug some gaps in the
collection, and it would make a good present
for them. Perhaps it could be bought between
a few friends and shared out or passed round
on a timeshare basis? Of course it is always
better to run horses for courses but the price
gain here is very considerable. Two EMI budget
boxes covering the symphonies, piano concertos
and piano sonatas – Klemperer and Barenboim
are the principal artists – occupy 19
CDs and currently cost almost exactly the
same as these 50 discs. I have both these
sets and, although they are generally preferable
to the versions in this box, if forced to
choose, I would now part with them before
this box.
The final word should
be about the composer whose marvellous music
is real reason for considering this set -
don’t roll over yet Beethoven. If you
can agree with that perhaps you should be
checking out this box.
Patrick C Waller
Full track-listing
CD 1
Symphonie n°1 en ut majeur Op.21
Symphonie n°3 en mi bémol majeur
Op.55 « Héroïque »
Orchestre Philharmonique de Berlin/André
Cluytens
CD 2
Symphonie n°2 en ré majeur Op.36
Symphonie n°4 en si bémol majeur
Op.60
Orchestre Philharmonique de Berlin/André
Cluytens
CD 3
Symphonie n°5 en ut mineur Op.67
Symphonie n°7 en la majeur Op.92
Orchestre Philharmonique de Berlin/André
Cluytens
CD 4 71.29
Symphonie n°6 en fa majeur Op.68 «
Pastorale »
Symphonie n°8 en fa majeur Op.93
Orchestre Philharmonique de Berlin/André
Cluytens
CD 5
Symphonie n°9 en ré mineur Op.125
« avec chœurs »
Gré Brouwenstijn soprano – Kerstin
Meyer contralto / Nicolaï Gedda ténor
– Frederike Guthrie basse
Chœurs de la Cathédrale Sainte-Hedwige
de Berlin/Karl Forster / Orchestre Philharmonique
de Berlin/André Cluytens
CD 6
Ouvertures
1 Coriolan 8.39
2 Egmont 9.13
3 Prométhée 5.35
4 Les Ruines d’Athènes 5.03
5 Fidelio 7.08
6 Leonore n°3 15.13
7 Romance pour violon & orchestre n°1
en sol majeur Op.40* 7.15
8 Romance pour violon & orchestre n°2
en fa majeur Op.50* 8.09
Orchestre Philharmonique de Berlin/André
Cluytens / *Patrice Fontanarosa violon –
Berliner Sinfonie-Orchester/Michael Sch?nwandt
CD 7 65.21
Concerto pour piano n°1 en ut majeur Op.15
Concerto pour piano n°2 en si bémol
majeur Op.19
Emil Guilels piano – Orchestre de la
Société des Concerts du Conservatoire/André
Vandernoot
CD 8
Concerto pour piano n°3 en ut mineur Op.37
Concerto pour piano n°5 en mi bémol
majeur Op.73 « L’Empereur »
Bruno Leonardo Gelber piano – New Philharmonia
Orchestra/Ferdinand Leitner
CD 9
Concerto pour piano n°4 en sol majeur
Op.58
Triple Concerto pour piano, violon & violoncelle
en ut majeur Op.56*
Emil Gilels piano / *Lev Oborine piano –
David Oistrakh violon – Sviatoslav Knouchevitzky
violoncelle
Philharmonia Orchestra/Leopold Ludwig 1-3/Sir
Malcom Sargent 4-6
CD 10 65.33
Concerto pour violon en ré majeur Op.61
4 Fantaisie pour piano, chœur & orchestre
en ut mineur Op.80* 19.48
David Oistrakh violon – Orchestre National
de la Radiodiffusion Française/André
Cluytens / *John Lill piano – Scottish
National Orchestra/Sir Alexander Gibson
CD 11
Sonate pour piano n°2 en la majeur Op.2
n°2
Sonate pour piano n°3 en ut majeur Op.2
n°3
Sonate pour piano n°4 en mi bémol
majeur Op.7
Eric Heidsieck piano
CD 12
Sonate pour piano n°1 en fa mineur Op.2
n°1
Sonate pour piano n°5 en ut mineur Op.10
n°1
Sonate pour piano n°6 en fa majeur Op.10
n°2
Sonate pour piano n°7 en ré majeur
Op.10 n°3
Sonate pour piano n°22 en fa majeur Op.54
Eric Heidsieck piano
CD 13
Sonate pour piano n°8 en ut mineur Op.13
« Pathétique »
Sonate pour piano n°9 en mi majeur Op.14
n°1
Sonate pour piano n°10 en sol majeur Op.14
n°2
Sonate pour piano n°11 en si bémol
majeur Op.22
Eric Heidsieck piano
CD 14
Sonate pour piano n°12 en la bémol
majeur Op.26 « Marche funèbre
»
Sonate pour piano n°13 en mi bémol
majeur Op.27 n°1 « Quasi una fantasia
»
Sonate pour piano n°14 en ut dièse
mineur Op.27 n°2 « Clair de lune
»
Sonate pour piano n°15 en ré majeur
Op.28 « Pastorale »
Eric Heidsieck piano
CD 15
Sonate pour piano n°16 en sol majeur Op.31
n°1
Sonate pour piano n°17 en ré mineur
Op.31 n°2 « La Tempête »
Sonate pour piano n°18 en mi bémol
majeur Op.31 n°3
Sonate pour piano n°20 en sol majeur Op.49
n°2
Eric Heidsieck piano
CD 16
Sonate pour piano n°19 en sol mineur Op.49
n°1
Sonate pour piano n°21 en ut majeur Op.53
« Waldstein »
Sonate pour piano n°23 en fa mineur Op.57
« Appassionata »
Sonate pour piano n°25 en sol majeur Op.79
Sonate pour piano n°26 en mi bémol
majeur Op.81a « Les Adieux »
Eric Heidsieck piano
CD 17
Sonate pour piano n°27 en mi mineur Op.90
Sonate pour piano n°28 en la majeur Op.101
Sonate pour piano n°29 en si bémol
majeur Op.106 « Hammerklavier »
Eric Heidsieck piano
CD 18
Sonate pour piano n°24 en fa dièse
majeur Op.78 « A Thérèse
»
Sonate pour piano n°30 en mi majeur Op.109
Sonate pour piano n°31 en la bémol
majeur Op.110
Sonate pour piano n°32 en ut mineur Op.111
Eric Heidsieck piano
CD 19
1 Pour Elise, bagatelle en la mineur WoO 59
2.57
2 Rondo a capriccio en sol majeur Op.129 ‘colère
pour un sou perdu’ 6.29
3 Variations en ut majeur sur ‘God save
the King’ WoO 78 8.36
Variations en mi bémol majeur Op.35
« Eroica »
4 Introduzione col basso del Tema – Tema
3.28
5 Var.1-15 16.45
6 Finale: alla fuga 5.09
7 6 Variations en fa majeur Op.34 13.51
8 6 Variations en ré majeur Op.76 6.37
9 8 Variations en fa majeur sur ‘Tandeln
und scherzen’ de Süssmayr WoO 76
8.56
1, 2 Danielle Laval, 3 Georges Cziffra, 4-9
Georges Solchany piano
CD 20
33 Variations sur une valse de Diabelli Op.120
Georges Solchany piano
CD 21
Bagatelles pour piano
1 Bagatelle en ut mineur (1797) 3.36
Bagatelles Op.33
Bagatelles Op.119
Bagatelles Op.126
Georges Solchany piano
CD 22
Sonate pour violon & piano n°1 en
ré majeur Op.12 n°1
Sonate pour violon & piano n°2 en
la majeur Op.12 n°2 17.50
Sonate pour violon & piano n°3 en
mi bémol majeur Op.12 n°3 16.40
Sonate pour violon & piano n°4 en
la mineur Op.23 16.58
Christian Ferras violon – Pierre Barbizet
piano
CD 23
Sonate pour violon & piano n°5 en
fa majeur Op.24 « Le Printemps »
Sonate pour violon & piano n°6 en
la majeur Op.30 n°1
Sonate pour violon & piano n°7 en
ut mineur Op.30 n°2
Christian Ferras violon – Pierre Barbizet
piano
CD 24
Sonate pour violon & piano n°8 en
sol majeur Op.30 n°3
Sonate pour violon & piano n°9 en
la majeur Op.47 « A Kreutzer »
Sonate pour violon & piano n°10 en
sol majeur Op.96
Christian Ferras violon – Pierre Barbizet
piano
CD 25
Sonate pour violoncelle & piano n°1
en fa majeur Op.5 n°1
Sonate pour violoncelle & piano n°2
en sol mineur Op.5 n°2
Sonate pour violoncelle & piano n°3
en la majeur Op.69
Paul Tortelier violoncelle - Eric Heidsieck
piano
CD 26
Sonate pour violoncelle & piano n°4
en ut majeur Op.102 n°1
Sonate pour violoncelle & piano n°5
en ré majeur Op.102 n°2
12 Variations sur un thème de Judas
Macchabée WoO 45 11.43
7 Variations sur ‘Bei Männern’
(La Flûte enchantée) WoO 46 9.24
12 Variations sur ‘Ein Mädchen oder
Weibchen’ (La Flûte enchantée)
Op.66 9.34
Paul Tortelier violoncelle - Eric Heidsieck
piano
CD 27
Trio pour piano, violon & violoncelle
en mi bémol majeur Op.1 n°1
Trio pour piano, violon & violoncelle
en sol majeur Op.1 n°2
Trio Hongrois / Georges Solchany piano –
Arpad Gerecz violon – Vilmos Palotai
violoncelle
CD 28
Trio pour piano, violon & violoncelle
en ut mineur Op.1 n°3
Trio pour piano, clarinette & violoncelle
en si bémol majeur Op.11*
Trio pour piano, violon & violoncelle
en si bémol majeur WoO 39
Variations pour piano, violon & violoncelle
sur ‘Ich bin des Schneider Kakadu’
extr. de l’opéra ‘Die Schwestern
von Prag’ de Wenzel Müller Op.121a
17.08
Trio Hongrois
* avec André Boutard clarinette
CD 29
Trio pour piano, violon & violoncelle
en ré majeur Op.70 n°1
Trio pour piano, violon & violoncelle
en mi bémol majeur Op.70 n°2
Trio pour piano, violon & violoncelle
en mi bémol majeur WoO 38
Trio Hongrois
CD 30
Trio pour piano, violon & violoncelle
en si bémol majeur Op.97 « A
l’Archiduc »
Variations pour piano, violon & violoncelle
sur un thème original en mi bémol
majeur Op.44
Trio Hongrois
CD 31
Trio pour violon, alto & violoncelle en
sol majeur Op.9 n°1
Trio pour violon, alto & violoncelle en
ré majeur Op.9 n°2
Trio pour violon, alto & violoncelle en
ut mineur Op.9 n°3
Trio à cordes Français / Gérard
Jarry violon – Serge Collot alto –
Michel Tournus violoncelle
CD 32
Trio pour violon, alto & violoncelle en
mi bémol majeur Op.3
Sérénade pour violon, alto &
violoncelle en ré majeur Op.8
Trio à cordes Français
CD 33
Sonatine pour mandoline & clavecin en
ut majeur WoO 44a
Sonatine pour mandoline & clavecin en
ut mineur WoO 43a
Sérénade pour flûte, violon
& alto en ré majeur Op.25
Trio pour flûte, basson & piano
en sol mineur WoO 37
1-4 Maria Scivittaro mandoline – Robert
Veyron-Lacroix clavecin / 5-10 Michel Debost
flûte – Gérard Jarry violon
- Serge Collot alto / 11-13 Michel Debost
flûte – Amaury Wallez basson –
Christian Ivaldi piano
CD 34
Sonate pour flûte & piano en si
bémol majeur, Anhang 4 (Attribué
à Beethoven)
Airs variés pour flûte &
piano
Michel Debost flûte – Christian
Ivaldi piano
CD 35
Quatuor à cordes n°1 en fa majeur
Op.18 n°1
Quatuor à cordes n°2 en sol majeur
Op.18 n°2
Quatuor à cordes n°3 en ré
majeur Op.18 n°3
Quatuor Hongrois / Zoltan Szekely, Michael
Kuttner violons – Denes Keromzay alto
– Gabor Magyar violoncelle
CD 36
Quatuor à cordes n°4 en ut mineur
Op.18 n°4
Quatuor à cordes n°5 en la majeur
Op.18 n°5
Quatuor à cordes n°6 en si bémol
majeur Op.18 n°6
Quatuor Hongrois
CD 37
Quatuor à cordes n°7 en fa majeur
Op.59 n°1 « Razoumovsky »
Quatuor à cordes n°8 en mi mineur
Op.59 n°2 « Razoumovsky »
Quatuor Hongrois
CD 38
Quatuor à cordes n°9 en ut majeur
Op.59 n°3 « Razoumovsky »
Quatuor à cordes n°10 en mi bémol
majeur Op.74 « Les Harpes »
Quatuor Hongrois
CD 39
Quatuor à cordes n°11 en fa mineur
Op.95 « Quartetto serioso »
Quatuor à cordes n°12 en mi bémol
majeur Op.127
Quatuor Hongrois
CD 40
Quatuor à cordes n°13 en si bémol
majeur Op.130
Quatuor Hongrois
CD 41
Quatuor à cordes n°14 en ut dièse
mineur Op.131
Quatuor à cordes n°16 en fa majeur
Op.135
Quatuor Hongrois
CD 42
Quatuor à cordes n°15 en la mineur
Op.132
Quatuor Hongrois
CD 43
Quintette pour piano, hautbois, clarinette,
cor & basson en mi bémol majeur
Op.16
Sextuor pour 3 violons, 2 cors & violoncelle
en mi bémol majeur Op.81b
Marche pour 2 clarinettes, 2 bassons &
2 cors en si bémol majeur WoO 29 1.15
Rondino pour 2 hautbois, 2 clarinettes, 2
cors & 2 bassons WoO 25 6.47
Duo pour clarinette & basson en ut majeur
WoO27
Membres du Melos Ensemble / Lamar Crawson
piano – Gervase de Peyer, Keith Puddy
clarinette – Peter Graeme, Sarah Barringson
hautbois – William Waterhouse, Edgar
Williams basson – James Buck, Neill Sanders
cor
CD 44
Septuor pour violon, alto, violoncelle, contrebasse,
clarinette, cor & basson en mi bémol
majeur Op.20
Octuor pour 2 hautbois, 2 clarinettes, 2 cors
& 2 bassons en mi bémol majeur
Op.103
Melos Ensemble / Emanuel Hurwitz violon –
Cecil Aronowitz alto – Terence Weil violoncelle
– Adrian Beers contrebasse – Gervase
de Peyer, Keith Puddy clarinette – Peter
Graeme, Sarah Barringson hautbois – William
Waterhouse, Edgar Williams basson – James
Buck, Neill Sanders cor
CD 45
Le Christ au Mont des Oliviers, oratorio op.85
1 Introduction (Grave –Adagio) 6.27
2 Jehova, du mein Vater! Jésus 3.57
3 Meine Seele ist erschüttert Jésus
4.42
4 Erzittre, Erde, Jehova’s Sohn liegt
hier! Seraphin 1.45
5 Preist, preist des Erlösers Güte
Seraphin 1.24
6 O Heil euch, ihr Erlösten Chœur/Seraphin
5.17
7 Doch weh ! Die frech entehren Chœur
1.54
8 Verkündet, Seraph, mir dein Mund Jésus/Seraphin
1.10
9 So ruhe denn mit ganzer Schwere Jésus/Seraphin
6.58
10 Willkommen, Tod Jésus 1.10
11 Wir haben ihn gesehen Chœur 2.13
12 Die mich zu fangen ausgezogen sind Jésus/Chœur
1.46
13 Hier ist er, der Verbannte Chœur 2.35
14 Nicht ungestraft soll der Verwegnen Schaar
Pierre/Jésus 1.20
15 In meinen Adern wühlen gerechter Zorn
und Wut Pierre/Jésus/Seraphin 4.58
16 Auf ! Auf ! Ergreifet den Varräther
Jésus/Chœur 3.01
17 Welten singen Dank und Ehre… Preiset
ihm Chœur 4.32
Christina Deutekom Seraphin – Nicolaï
Gedda Jésus – Hans Sotin Pierre
/ Solistes, Chœur Philharmonique de la
Ville de Bonn – Chœur du Théâtre
Municipal de Bonn, Orchestre de la Beethoven
Halle de Bonn/Volker Wangenheim
CD 46
Missa solemnis en ré majeur Op.123
(début)
Heather Harper soprano – Janet Baker
mezzo-soprano – Robert Tear ténor
– Hans Sotin basse
New Philharmonia Chorus & London Philharmonic
Orchestra/Carlo Maria Giulini
CD 47
Missa solemnis en ré majeur Op.123
(fin)
Heather Harper soprano – Janet Baker
mezzo-soprano
Robert Tear ténor – Hans Sotin
basse
New Philharmonia Chorus & London Philharmonic
Orchestra/Carlo Maria Giulini
Messe en ut majeur
Op.86
Elly Ameling soprano – Janet Baker mezzo-soprano
/ Theo Altmeyer ténor – Marius
Rintzler basse
New Philharmonia Chorus & Orchestra/Carlo
Maria Giulini
CD 48
Fidelio opéra en 2 actes
Livret de Joseph Sonnleithner & Friedrich
Treittschke, d’après Jean-Nicolas
Bouilly
1 Ouverture 6.57
Acte I
2 Jetzt, Schätzchen, sind wir allen Jaquino/Marzelline
4.42
3 Der arme Jaquino dauert mich beinahe Marzelline
0.13
4 O wär’ ich schon mit dir vereint
Marzelline 4.00
5 Ist Fidelio noch nicht zurück? Rocco/Marzelline/Leonore
0.35
6 Mir ist so wunderbar… Marzelline/Leonore/Rocco/Jaquino
4.41
7 Höre, Fidelio, wenn ich auch nicht
weiß Rocco 0.26
8 …man braucht auch Rocco 2.40
9 Ihr könnt das leicht sagen, Meister
Rocco Leonore/Rocco/Marzelline 2.08
10 Gut, Söhnchen, gut, hab’ immer
Mut Rocco/Leonore/Marzelline 6.18
11 Marche 2.17
12 Depeschen? Pizarro/Rocco 0.34
13 Ha! Welche in Augenblick! Pizarro 2.58
14 Hauptmann, besteigen Sied en Turn Pizarro/Rocco
0.25
15 Jetzt, Alter, jetzt hat es Eile Pizarro/Rocco
4.38
16 Abscheulicher! Wo eilst du hin? Leonore
7.35
17 Vater Rocco, ich ersuchte Euch schon…
Leonore/Marzelline/Rocco 0.36
18 n°10 Finale : O welche Lust! Chœur/2
prisonniers 7.16
19 Nun sprecht, wie sie ging’s Leonore/Rocco
5.16
20 Ach! Vater, eilt! Marzelline/Rocco/Jaquino/Leonore/Pizarro/Chœur
6.18
CD 49
Fidelio – Acte II
1 n°11 Introduction & air : Gott!
Welch Dunkel hier! Florestan 11.23
2 n°12 Melodrame & duo : Wie kalt
ist es in diesem unterirdischen Gewölbe!
Leonore/Rocco 1.25
3 Nur hurtig fort… Rocco/Leonore 4.13
4 Er erwacht! Leonore/Rocco/Florestan 1.23
5 n°13 Trio : Euch werde Lohn in besser’n
Welten Florestan/Rocco/Leonore 6.36
6 Ist alles bereit? Rocco/Leonore/Florestan/Pizarro
0.39
7 n°14 Quatuor : Er sterbe! Doch er soll
erst wissen… Pizarro/Florestan/Leonore/Rocco
3.41
8 Vater Rocco! Vater Rocco! Jaquino/Rocco
0.18
9 Es schlägt der Rache Stunde! Leonore/Florestan/Pizarro/Rocco
1.11
10 n°15 Duo : O namenlose Freude! Leonore/Florestan
2.58
11 n°16 Finale : Heil se idem Tag, heil
sei der Stunde Chœur/Don Fernando/Rocco/Pizarro/Leonore/Marzelline
6.02
12 Du schlossest auf des Edlen Grab Don Fernando/Leonore/Florestan/Marzelline/Rocco/
Chœur/Jaquino 8.04
Helga Dernesch Leonore / Jon Vickers Florestan
/ Karl Ridderbusch Don Pizzaro / José
van Dam Don Fernando
Helen Donath Marzelline / Horst Laubenthal
Jaquino / Werner Hollweg 1er prisonnier /
Siegfried Rudolf Frese 2ème prisonnier
/ Chœur de l’Opéra Allemand
de Berlin – Orchestre Philharmonique
de Berlin/Herbert von Karajan
CD 50
1 Ah, perfido! Op.65 13.14
2 An die ferne Geliebte (A la bien aimée
lointaine) Op.98 Jeitteles
Auf dem Hügel sitz’ ich spähend
– Wo die Berge so blau – Leichte
Segler in der Höhen – Diese Wolken
in den Höhen – Es kehret der Maien
– Nimm sie hin den diese Lieder 14.14
7 Lieder de Goethe
3 Mailied Op.52 n°4 2.04
4 Marmotte Op.52 n°7 0.38
5 Neue Liebe, neues Lebe Op.75 n°2 2.55
6 Aus Goethes Faust Op.75 n°3 1.55
7 Wonne der Wehmut Op.83 n°1 3.00
8 Sehnsucht Op.83 n°2 2.03
9 Mit einem gemalten Bande Op.83 n°3 1.43
10 Adelaïde Matthison 6.11
6 Lieder de Gellert Op.48
11 Bitten 1.49
12 Die Liebe des Nächsten 1.09
13 Vom Tode 2.15
14 Die Ehre Gottes aus der Natur 2.23
15 Gottes Macht und Vorsehung 0.40
16 Busslied 4.48
1 Birgit Nilsson soprano – Philharmonia
Orchestra/Heinz Wallberg / 2-16 Dietrich Fischer
Dieskau baryton – 2 Gerald Moore, 3-16
Hertha Klust piano
