Vivo V.2 [Limited Edition] [Import]

Track Listings

1. El Probador

2. Juegos Incompletos

3. Hago Mas

4. Soy Moderno, No Fumo

5. Destino Circular

6. Sentirse Bien

7. Amor Descartable

8. Carolina

9. Me Puedo Programar

10. Luna De Miel En La Mano

Editorial Reviews
Product Description
Paper Sleeve Version from Argentinean Pop/Rock Band Formed in the Early '80s Fronted by Vocalist Federico Moura who Passed Away in 1988. The Group Then Decided to Play for the Last Time While Opening for Bryan Adams and David Bowie in September of 1989.

Vivo V.2,Virus,Sony,Latin,Latin Pop/Rock

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Customer Reviews:

Essential Performances from a Great & Beloved Singer.......2004-01-09

For those of us who grew up on Janet Baker's recordings (and were lucky enough to hear her "live" as well), the sound of her voice and her singular artstic personality - British restraint coupled with fierce emotional and spiritual commitment - are indelibly imprinted in our minds and hearts. The closest current equivalent is Lorraine Hunt Lieberson, another superb artist who has charted her own course, and not surprisingly there is some overlap of repertoire, in the music of J.S. Bach, of course, but also Berlioz's Didon and Beatrice, Handel's Ariodante and Britten's Phaedra (composed for Baker).
This wonderful compilation is complementary to EMI's 2-CD "The Very Best of Janet Baker" -- no overlap of repertoire whatsoever. Unlike that set, which focused on concert repertoire (with orchestra or piano) there's a generous sampling here of Baker's operatic roles including Handel, Mozart, Purcell, Rameau, Gluck, and Britten. Also welcome is "Phaedra," one of Britten's strongest late works. And it's good to have the Berlioz: "Cleopatre" and "Herminie" complete, the big aria from "Beatrice et Benedict." (Why EMI included nothing from her recording of the last 2 scenes of "Les Troyens" is unfathomable.) The wide time-span allows us to hear Baker's voice in all its youthful, "sappy" warmth, as well as in its artistic maturity (though truth to tell she was pretty much a complete artist from the start). There are a few signs of wear in later items, nothing serious, in fact rather less than I remembered. I could have done with fewer of the "Arie Amorose" in favor of more cuts from her Gluck LP, which I believe has never been issued complete on CD, but that's just personal preference. The focus here is entirely on orchestrally accompanied works (or, in the case of the marvelous early disc of Ravel, Chausson & Delage songs, with chamber ensemble) so for Baker the supreme interpreter of English, German and French song you'll need to go elsewhere (the EMI has a fair sampling, especially of her Schubert). But everything here is indispensible.

Tchaikovsky: Symphonies Nos. 1-6; Orchestral Works (Limited Edition)

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Is Abbado better or worse in Tchaikovsky than his reputation?

Tchaikovsky: Symphonies Nos. 1-6; Orchestral Works (Limited Edition)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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Mendelssohn: 5 Symphonies; 7 Overtures
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Dvorák: The String Quartets

ASIN: B00006OA67
Release Date: 2002-01-01

Tracks:

Symphony No 1 In G Minor
Symphony No 2 In C Minor
Symphony No 3 In D Major
Symphony No 4 In F Minor
Symphony No 5 In E Minor
Symphony No 6 In B Minor

Customer Reviews:

Is Abbado better or worse in Tchaikovsky than his reputation?.......2007-02-17

Claudio Abbado spent considerable time with the CSO in the 1980s but rarely returned (so far as I know) after he was appointed as Karajan's successor in Berlin. His complete Tchaikovsky cycle was a flagship enterprise for Sony, and yet the results divide listeners, some of whom categorically dismiss Abbado's interpretations as boring and fussy, lacking in Slavic passion. I had casually bought into that judgment but decided recently to listen to the whole cycle afresh, leading to the following, sometimes surprising conclusions:

Sym. #1: We start off on a high point. This work, subtitled 'Winter Dreams,' is the most immature of the symphonies, relying on much repetition in place of solid sonata development, and at times it's hard to distinguish why this is a symphony and not part of a ballet suite. However, the melodies are gorgeous, and a conductor with real conviction can make the music come across. Abbado spins out the balletic first movement with energy and verve--it makes the often recommended Tilson Thomas version from Boston (on DG) seem overly refined. The lyrical second movement evokes real tenderness, the Scherzo (another balletic movement) skips along lightly but could use more rhythmic emphasis, and the finale, after an Andante lugubre introduction that could be darker, sweeps convincingly into the grand allegro, which has lots of punch and vitality. In all, an excellent performance. After you count in the fine sonics and the gorgeous playing of the Chicago Sym., Abbado outshines all his Western competition, including Karajan, Mehta, and Bernstein in their complete sets.

Sym. #2: Outstandings recordings of the First Sym. are thin on the ground, but not of the 'Little Russian,' which boasts a classic from Giulini (EMI) and a committed reading from Bernstein (Sony). Abbado has a great advantage in outstanding solo parts played with style and commitment by the Chicagoans--you won't hear better from Karajan's Berliners. Rather than aiming for folk-style earthiness, Abbado takes the work to be grander, more symphonically European. In that vein the first movement is convincing and thrilling. But the march that follows is reticent and fussy. The performance is back in form with an energetic, propulsive Scherzo, a total success. The finale is imposingly grand at the outset, rich with brass sonorities, and although the main allegro section sounds a bit fussed over, it has requisite vigor and enthusiasm. In sum, another success, much better played and recorded than esteemed rivals like Dorati on Mercury and Markevitch on Philips.

Sym. #3: The "Polish" Sym. is the problem child, a score so drawn out and balletic (Balanchine based his full-length "Jewels" on it) that few conductors can hold it together symphonically. It doesn't help matters that so much of the music hovers around Andante instead of a vigorous Allegro, or that the harmonies are often ambiguous. Abbado takes the shadowy first movement as a processional, delicately nuanced in the phrasing but moving along. It works well, but the next movement "Alla Tedesca" sounds exactly the same; he hasn't found any contrast in tempo or mood. The third movement, which is yet another shadowy andante, sounds inward and melancholy. By now the wandering nature of the piece has won out; attention begins to wander, to. Abbado doesn't find enough earthiness in the mercurial Scherzo to salvage matters, so we might as well give in and enjoy this as ballet. Tchaikovsky wants the finale to be played "with fire," but Abbado remains at low temperature, smooth and flowing. I've been highly critical here, so let it be said that none of Abbado's Western rivals do any better. Call this attempt to interpret a sprawling ballet-symphony a middling success, with reservations.

Sym. #4: The last three symphonies are meat for every great conductor, needless to say, so Abbado had little chance of rising to the very summit. He competes with himself, in fact, given that his Decca recording of the Fourth with the Vienna Phil. ranks among his best recordings from the Seventies. A good or even very good reading won't do, and that's about all that Abbado gives us. The CSO brass suddenly begin to snarl a bit, a la Solti, and softer passages get fussed over. The first movement fails to cohere convincingly, and one wonders exactly where the interpretation is going. Is this just big-band international Tchaikovsky? On the whole, yes. The oboe solo in the Andante flows by without much individuality or expression, and you realize that this music doesn't mean much to anyone here. The Scherzo is virtuosic without being thrilling. The finale is heavy and not fast enough to raise one's blood, immediately turning tepid in the lyrical second subject. All in all, not an inspired reading. In fact, a definite miss unless you simply must hear the CSO run thorugh its paces.

Sym. #5: Although much loved, the Fifth suffers from repeating the same motive in the first and last movements, as well as repetitive development sections that hammer simple rhythmic patterns over and over. To really succeed, an interpretation must be intense, dramatic, and played with edge of the seat intensity (in a word, the way Mravinsky does it). Abbado starts out with a full, broad statement that isn't premonitory enough (it doesn't promise great things to come), but no one can doubt how detailed and beautiful the playing is. There's a lot to be said for avoiding banality in this music or hollow grandiosity. Add in the outstanding Chicago playing (thankfully less blaring in the brass), and the first movement turns into a real success. Likewise the Andante, which begins with ravishing cellos and a natural, unforced solo horn. Here Abbado moves things along rather quickly, perhaps too much so for the music to tell as expressively as it might. But again, no sentimentality allowed. The waltz Scherzo is weaker in its characterization, coming off as well played but faceless. Up to this point, I've been feeling that Abbado's reading deserves respet, which is confirmed by a sober but full-voiced finale, the place where sentimentality and false heroics lay real traps. In all, I like this Fifth and rate it higher than the Fourth. Those who prefer blood-and-thunder won't agree. This is a Fifth for those who usually avoid the work.

Sym. #6: It's as difficult to produce a truly memorable 'Pathetique' as it is to produce a truly memorable Beethoven Fifth, and yet neither work ever misfires under a good conductor. So the challenge is greatness, pure and simple. Abbado had looming over his head Reiner's acclaimed Sixth with the same CSO in Living Stereo on RCA, a classic. Let's note right off that the playing and recording here are up to Reiner's standards. Reiner was a cool customer, perhaps the greatest technicin of his day. Abbado is cool, too, but without the intensity of a master craftsman. His 'Pathetique' is too loose-limbed at the beginning; one soon realizes that as with the Fourth, he has no pressing thing to say in this music. One episode follows another beautifully, if at times cautiously (E.g., a tepid second subject in the opening movement that needs to soar). The succeeding movements don't change that impression, even though everyone concerned tries to thrill us in the Scherzo, and do. Tchaikovksy's last symphony rises and falls on its tragic finale--I want a wrenching catharsis--but Abbado has decided that pathos is the dominant feeling. He's not alone in that, so if you want less than catharsis, here is a well-played finale that I find unmemorable. In all, I'd place Abbado's Sixth a little higher than the Fourth but well shy of the Fifth.

Overall judgement: I was surprised, given its lackluster reputation, that this is often a spectacular set, full of exciting playing. Abbado has no riveting conception in the last three symphonies, and in fact rises to his best in the First and Second. For overall conviction, I'd buy the Temirkanov set on RCA, but Abbado is more convincing to me than Karajan, and better in the early works than Bernstein. Experienced collectors will already have multiple favorites among the individual suymphonies and won't want a complete set. For them, Abbado's "Winter Dreams" is the overlooked gem.

Sergei Prokofiev, Enfant Terrible (1891-1953): A 50th Anniversary Celebration

Average customer rating:

An eye-opening Prokofiev survey (try to buy it used)

Sergei Prokofiev, Enfant Terrible (1891-1953): A 50th Anniversary Celebration

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Modern & 20th Century | Symphonies | Classical | Styles | Music

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ASIN: B000084H93
Release Date: 2003-04-08

Customer Reviews:

An eye-opening Prokofiev survey (try to buy it used).......2006-03-26

I can't see paying full price for a two-CD compensdium, even one as lavish as this package, when all the itmes are samples for promoting Universal's catalog (expect a good representation by Ashkenazy, Rostropovich, Previn, and Gergiev). But the selection is good enough and often rare eough to warrant a buy if the price is low.

As I listened straight through, I was surprised at how unacquainted I actually was with the wide extent of Prokofiev's style. From the very early "Dreams," which could be mistaken for Glazunov through the unfamiliar operas (Betrothal in a Monastery Garden, Semyon Kotko) to the final, sadly diminished works like the Seventh Sym. and the cello concerto, the composer covered every major Russian style of the century. I didn't find any new masterful performances--not that a short excerpt is a good enough trial--but everything here is well performced. Any listener should find something unexpected and intriguing in this two-and-a-half-hour traversal.

Average customer rating:

One of the best opera recordings ever
Totally brilliant Vivaldi
Requiem for a dead son

Antonio Vivaldi: Farnace

Manufacturer: Alia Vox Spain
ProductGroup: Music
Binding: Audio CD

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Vivaldi Edition: Orlando finto pazzo
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ASIN: B0000634VT
Release Date: 2002-09-10

Amazon.com

For all Vivaldi's current popularity, his nearly 50 operas continue to languish in undeserved obscurity. This live performance of his 1727 hit, Farnace, should help rectify posterity's oversight, for the music is compelling and the spirited singing and conducting are irresistible. The plot is a typical 18th-century opera narrative concerning people in ancient times whose confusing doings resist concise summary, but combine family discord, high politics, hate, love, and forgiveness. Jordi Savall leads his crack period instrument ensemble in a spirited rendition that stresses dramatic values. His sterling cast has no discernible weak links and several especially strong ones, such as baritone Furio Zanasi in the title role, contralto Sara Mingardo as his wife, and the daughter of the villainess of the opera, Farnace's arch-rival, Queen Berenice, soprano Adriana Fernandez. In fact, everybody sings with dramatic abandon and uses stunning coloratura effects. Savall also interpolates about 20 minutes of music from another Farnace opera written a dozen years later by Francesco Corselli, emulating the period practice of inserting materials by other contemporary composers. The fluent singing and dynamic drive of the orchestra make this among the best recordings of Baroque Italian opera. The format is a book-style packaging, with lavish illustrations, full text, and translations. --Dan Davis

Customer Reviews:

One of the best opera recordings ever.......2004-08-15

I agree wholeheartedly with the reviewers below. I am relatively new to vocal music and I tend to respond on a wholly emotional level.
Some Baroque operas with lenghty recitives tend to bore me. But Savall and his cast have brought to life even those passages of the opera. The cast was recorded live in a Madrid opera house. Not all live recordings of operas are successful. But Savall and company have left me all atingle an hour after I finished listening.
I realize that two other reviewers have given much more lucid, analytical reviews, but I was just wowed by this recording so much.
I recommend this not just to baroque opera or Vivaldi lovers but as a CD that belongs in every classical music lover's collection.

Totally brilliant Vivaldi.......2004-06-23

I agree wholeheartedly with reviewer Glidden's very expert review with the sole exception that I am madly in love with Sara Mingardo and although I am basically a soprano-lover, Sara is my absolute favorite Vivaldi singer. You should also purchase La Verità in Cimento, L'Olimpiade and Vespri per l'Assunzione di Maria Vergine. You will be totally convinced of her tremendous ability. The CDs come with an absolutely superb libretto. There is one minor flaw in this whole thing but by no means should you permit it to deter you from purchasing this work. The CDs are actually stored in slip-in jackets which are pages in the libretto. It cannot possibly be beneficial for the CDs to be put in and pulled out of these very tight jackets. Very definitely buy this work and then do yourself a big favor by buying a couple of empty jewel cases and storing the CDs in them as CDs should be stored. It will be well worth the small price (I buy them 3 for about $5).

Requiem for a dead son.......2003-06-27

Vivaldi's vocal music will, I believe, eventually be adulated on a level approaching Bach's. For those who have labored through the rocky trails of bizarre, overpriced, and obscure recordings of his sacred music, recently revitalized by Robert King and Rinaldo Alessandrini, to name two, his operatic repertoire is a godsend, all the more so since these latter CD's have been favored by truly excellent singers. And no wonder. Who, other than Bach (and, to lesser extent, Handel), forges the indissassociable link between instrumental and vocal writing, giving us wind instruments that sigh and weep and cadenzas that soar like violins (or, in the case of our altos, like violas)? Jordi Savall's Farnace is bold. The more-or-less incomprehensible plot, with its gratuitious secondary love story, is simply the occasion for the music. This is the forgiveness we have to extend to these Venetian operas in order to enter them. When they are graced with such singers as these, the music opens our ear, heart, and mind and lets the trumpet call in. I bought this recording, (full-price!), for its three contralti, Sara Mingardo, Gloria Banditelli, and, my current favorite, Sonia Prina. Ms Mingardo and Ms. Banditelli are long-time heralds of the true contralto in baroque music, but only Ms. Prina, at the ripe old age of 29, makes my heart both thrill and melt. Perhaps less so in this recording than her Aristea in Alessandrini's Olympiade with her incomparably languid force, than here with her Marilyn Horne-worthy coloratura, but as part of this ensemble her major talent announces a great work. I will confess another miscasting in the role of the "Amazone d'Oriente" Berenice in Ms. Fernandez (too sweet for a murderous, tyranical queen! Her photo belies the role 100%) but the blame lies elsewhere than in her voice. The surprises came with Cinzi Forte, aptly named indeed, and her wind-swept mastery, and even more so, Furio Zanasi, whom I have not heard since Rene Jacob's legendary Guilio Cesare (Achilla). His full-throated approach to singing can leave one overwhelmed, but that is desireable here in a man bent with grief for his dead son. His 9:09 minute long aria "Gelido in ogni vena" is beyond the pale, metaphor intended.
There is much to discover in these three disks and Savall's additions from Corselli's version are ultimately enriching. Final note: the set photos are dramatic, baroque, and utterly splendid, making you regret having missed the performance and hoping fervently for its revival.

Average customer rating:

Bizet: Carmen; L'Arlésienne; Symphonie

Manufacturer: EMI Classics Imports
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B00008PW5V
Release Date: 2003-11-04

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Ultimate Classic Performances

Manufacturer: Bci / Eclipse Music
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

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Preludes | Forms & Genres | Classical | Styles | Music

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ASIN: B000085RTK
Release Date: 2003-01-14

Average customer rating:

Classical Heartache

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B0002IQARW
Release Date: 2004-07-13

Tracks:

Adagio For Strings - Barber
Meditation From 'Thais' - Massenet
Violin Concerto, I. Allegro Molto Appassionato - Mendelssohn
Symphony No. 6, IV. Finale; Adagio Lamentoso - Andante - Tchaikovsky
The Planets: Venus, The Bringer Of Peace - Holst
Symphonie Espagnole, IV. Andante - Lalo
My Country, The Moldau - Smetana
Violin Sonata, II. Andante - Faure
Apres Un Reverie - Faure

Tracks:

Symphony No. 5, Adagietto - Mahler
Piano Concerto No. 2, I. Moderato - Rachmaninov
Moonlight Sonata, Adagio - Beethoven
Violin Concerto: II. Canzonetta: Andante - Tchaikovsky
Tannhauser Overture - Wagner
Palleas And Melisande: Prelude - Faure
Fur Elise - Beethoven
The Swan - Saint-Saens
Symphony In B-Flat, I. Lent - Allegro Vivo - Chausson
Great Gate Of Kiev - Mussorgsky

Great Artists of the Century: 25 Launch Releases

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A Wonderful Introduction

Great Artists of the Century: 25 Launch Releases

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Brahms: Ein deutsches Requiem [A German Requiem]

ASIN: B0001HAHRI
Release Date: 2004-03-23

Tracks:

I: Allegro Con Brio - Alban Berg Quartet
I: Allegro Ma Non Tanto (Conclusion) - Leif Ove Andsnes
Act V Scene 2 (Conclusion) - Janet Baker
III: Scherzo (Allegro Vivace) & Trio (Opening) - Sir Adrian Boult
Signore, Ascolta! (Act I) - Maria Callas
Tu Che Di Gel Sei Cinta (Act III) - Maria Callas
II: Wolcum Yole! - Sir David Willcocks
III: There Is No Rose - Sir David Willcocks
Jubilate Deo - Sir David Willcocks
Mephisto Waltz No.1 (Conclusion) - Georges Cziffra
II: Adagio Ma Non Troppo (Conclusion) - Jacqueline Du Pre
I: Gute Nacht - Dietrich Fischer-Dieskau
Till Eulenspiegels Lustige Streiche (Conclusion) - Wilhelm Furtwangler
II: Et La Lune Descend Sur le Temple Qui Fut - Walter Geiseking
La Scala Di Seta - Carlo Maria Giulini
Che Parli Tu Di Morte - Tito Gobbi

Tracks:

I: Aria Ich Habe Genug - Hans Hotter
III: Lento Assai - Allegro Vivace (Conclusion) - Mariss Jansons
IV: Wie Lieblich Sind Deine Wohnungen - Herbert Von Karajan
II: Vivo, Con Molto Preciso - Nigel Kennedy
I: Bewegt, Nicht Zu Schnell (Conclusion) - Otto Klemperer
No.2 In A Flat (Andantino) - Stephen Kovacevich
No.5 In A Flat Op.42 - Dinu Lipatti
No.6 In D Flat Op.64 No.1 - Dinu Lipatti
III: Allegro Giocoso, Ma Non Troppo Vivace - Yehudi Menuhin
II: Adagio - Arturo Benedetti Michelangeli
III: Presto - Anne-Sophie Mutter
II: Presto Inquieto - Mstislav Rostropovich
IV: The Field-Marshal - Galina Vishnevskaya

Customer Reviews:

A Wonderful Introduction.......2004-05-13

I'm fairly new into appreciating classical music, and this CD is a wonderful introduction for me. This CD by EMI Classics is a sampler of their mid-price series called "Great Artists of the Century." It celebrates their roster of artists from the 20th century and the first decade of the 21st century.

Latin Music:

Latin Music

latin music

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