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| Price : $128.38 | Post Date : May 02, 2012 23:21:06A limited-edition 50-CD set of legendary recordings celebrating the world-renowned DECCA sound.
Classic-status pioneering stereo recordings from the past 55 years and starring a galaxy of internationally-acclaimed artistic talent. Each CD is presented in a sleeve with original cover art, along with a short review of the main work. Where an original release may have been of short duration due to limitations of the LP a bonus work featuring the same artists has been added. Also included is a 200-page booklet documenting the development of stereo recording as it developed in the 1950s through to modern digital recordings. Full recording information on each disc is included and there are numerous photographs. Truly a must-have collection for any audiophile.
Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.
Any discussion of Beethoven's violin sonatas (CDs 1, 4, 9 & 10) must address the fact that the composer did not designate these works as being "for violin and piano". For example, the first published edition of the "Spring" Sonata op. 24 from October 1801 reads "Sonate pour le Piano Forte," in large letters, followed in smaller print by "avec un Violon." Similarly, the title-page of the first edition of the "Kreutzer" Sonata op. 47 from April 1805 reads "Sonata per il Piano-forte ed un Violino obligato." None of this should be taken to mean that the violin writing plays "second fiddle" to the piano part, so to speak, but rather that both instruments carry equal weight within the musical discourse.
Argerich and Kremer understood this from the start of their recorded Beethoven encounters, originally intended as part of a series encompassing all the violin sonatas, the music for cello and piano with Maisky, plus the five piano concerti with Giuseppe Sinopoli and the Philharmonia Orchestra (in the end, Argerich and Sinopoli recorded only the First and Second Concertos). Initially Argerich expressed apprehension about recording Beethoven, lest her readings might sound self-conscious under the microphone's objective, unforgiving scrutiny. Yet, during an interview conducted prior to the cycle's final sessions, both Argerich and Kremer spoke of using the recording process to look for the unexpected. "It was an inspired idea to match (Argerich) against a violinist so unpredictable as she is herself," wrote Edward Greenfield in Gramophone, "for though there is nothing `safe' about these interpretations, and not everyone will respond to their sparkling, volatile qualities, the liveness of the experience is undeniable."
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Teldec's monumental COMPLETE BACH edition, released in July 1999 as BACH 2000, was the first complete edition of all Johann Sebastian Bach's compositions. The culmination of 41 years of recording, COMPLETE BACH, which consists of 153 CDs, appeared exactly a year before the 250th anniversary of Bach's death and has been called by La Republica 'the most ambitious project the record industry has ever conceived.' Gramophone wrote, 'COMPLETE BACH will provide you with a lifetime's exalted listening, invariably presented with love, enthusiasm and conscientious musicianship.'
Artists include: Nikolaus Harnoncourt, Gustav Leonhardt, Concentus musicus Wien,
Ton Koopman, Il Giardino Armonico, Andreas Staier, Michele Barchi, Luca Pianca, Werner Ehrhardt,
Bob van Asperen, Arnold Schoenberg Chor, Rundfunkchor Berlin, Tragicomedia, Thomas Zehetmair, Glen Wilson,
Christoph Prégardien, Klaus Mertens, Barbara Bonney, Thomas Hampson, Herbert Tachezi, Frans Brüggen and many others ...
153 CDs in 12 Volumes, with a bonus DVD featuring the documentary from the BBC TV series 'Great Composers'
A superb collection of some of the greatest
performances of Richard Strauss's orchestral,
operatic, chamber and vocal works, brought
together in a stunning 35-CD edition of
fantastic value. The collection begins
with a survey of Strauss's orchestral music, including the supremely popular symphonic poems - Don Juan, Don Quixote, Also sprach Zarathustra, Till Eulenspiegel, Tod und Verklärung, Eine Alpensinfonie and Ein Heldenleben are included, together with comparatively rare orchestral works such as the wonderful Burlesque for piano and orchestra. These recordings, performed by the Staatskapelle Dresden and conducted by Rudolf Kempe, are a particular highlight of this box set,
some of the greatest recordings of the
classical catalogue. Alongside an extensive survey of Strauss's chamber music, performed by major international instrumentalists including Wolfgang Sawallisch (piano), Erno Sebestyen (violin), Wenn-Sinn Yang (cello) and the Sinnoffer Quartet, some of the definitive performances of Strauss's best-loved operas are also featured. In particular, Herbert von Karajan's Der Rosenkavalier remains unsurpassed. This comprehensive box set concludes with 3 CDs of Lieder, including the enduringly popular Vier letzte Lieder sung by
Charlotte Margiono and a disc of historical
recordings accompanied by Richard
Strauss on piano.
One of the most charismatic of conductors, Carlos Kleiber would have been 80 on 3 July 2010. Here, in celebration of a great artist, are his Complete Recordings, concerts and operas on Deutsche Grammophon: each is a classic, and presented here in the best sound-quality. Each of these recordings is a classic, each has been in the catalogue since the time of recording, all still selling amazingly well after more than 30 years. Most classical music lovers will have at least the Beethoven and the Verdi releases, two perennial bestsellers. Now is their chance to discover the rest of Kleiber's magical touch at little additional cost in this special one-off edition.
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Leonard Bernstein's Young People's Concerts with the New York Philharmonic stand among his greatest achievements. These televised programs introduced an entire generation to the joys of classical music. Bernstein conducted his first Young People's Concert on January 18, 1958, just two weeks after becoming Music Director of the New York Philharmonic. Such programs were already a Philharmonic tradition when Bernstein arrived, but he made them a centerpiece of his work, part of what he described as his "educational mission." Looking back on the concerts years later, he referred to them as being "among my favorite, most highly prized activities of my life." When he took a sabbatical season from the orchestra in 1964-65, he still came back to lead the Young People's Concerts. He continued to lead these programs until 1972, even though he had stepped down as director of the Philharmonic in 1969. Bernstein led a total of fifty-three Young People's Concerts during those fourteen years, and covered a broad range of subjects. The works of the great composers were explored, including tributes to modern masters such as Dmitri Shostakovich, Paul Hindemith, Gustav Holst, Aaron Copland and Charles Ives. Bernstein discussed "Jazz in the Concert Hall," "Folk Music in the Concert Hall," and "The Latin-American Spirit." He explained the intricacies of Music Theory in programs such as "Musical Atoms: A Study of Intervals" and "What is a Mode?" He broached complex aesthetic issues such as "What Does Music Mean?" (his first program) with clarity and without condescension. Bernstein also used the Young People's Concerts to introduce young performers to the musical world. The sixteen year-old pianist André Watts made his debut in the concert of January 15, 1963. Originally broadcast on Saturday mornings, the programs were considered so important that for three glorious years CBS presented them at 7:30 p.m. (prime time for television viewing). Eventually the programs were moved to Sunday afternoons. The concerts were translated into other languages and syndicated to forty countries.
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