1
DOWNLOADED MUSIC (Mixed) KV 417: I. Allegro 00:06:29 Horn Concerto No.
LA SONNAMBULA (Bellini, Vincenzo) [Amina:
Anna Moffo Il conte Rodolfo: Plinio Clabassi
Teresa: Anna Maria Anelli Elvino: Danilo Vega
Lisa: Gianna Galli Alessio: Guido Mazzini Un
notaro: Giuseppe Nessi Dir: Bruno Bartoletti.
Film 1956]
Mozart, WA. HORN CONCERTOS (About this
Album: Mozart excelled in all areas of
composition, and his horn concertos – despite
making up a very modest part of his total
output – still reside among the finest
achievements in the horn literature. The
composer became acquainted with the mellow
sonorities of the instrument from an early age,
courtesy of his friend Joseph Leutgeb, who
had been employed by the Hofkapelle in
Salzburg. It was not until the remaining 10
years of his life, however, that Mozart finally
set to work on his six concertos for horn. Apart
from K370b/371, which represents the
composer’s first attempt at writing a horn
concerto and whose musical content differs
markedly from that of the later ones – there
are no ‘hunting effects’ in the rondo and the
first movement is more declamatory in style
than lyrical – it seems that all of the works
were composed for Leutgeb, who was often a
target of Mozart’s mockery and teasing.
Though the numerous points of harmonic,
melodic and structural correspondence
between the pieces suggest that Mozart did
not take this genre especially seriously, the
works still delight the listener for their gaiety,
lightness of touch and warmth of
orchestration. It is therefore a shame that only
three of the six pieces remain complete, a
resulting combination of more pressing work,
lost manuscripts and the composer’s untimely
death. Jeurissen, the soloist on this recording
and principal horn player of the Residentie
Orchestra in The Hague, has taken it upon
himself, based on analyses of similar
passages in other works by Mozart, to work
up all of these fragments into playable,
practical versions. The results are laudable,
and Jeurissen’s passion for the works is
evident from his highly accomplished,
charismatic playing. Hungary. Tracklist:
00:00:00 Horn Concerto No. 2 in E-Flat Major,
2 in E-Flat Major, KV 417: II. Andante
00:09:49 Horn Concerto No. 2 in E-Flat Major,
KV 417: III. Rondo: Allegro 00:13:22 Horn
Concerto No. 3 in E-Flat, KV 447: I. Allegro
00:20:02 Horn Concerto No. 3 in E-Flat, KV
447: II. Romance: Larghetto 00:23:59 Horn
Concerto No. 3 in E-Flat, KV 447: III. Allegro
00:27:49 Concerto movement in E Major, KV
494a: I. Allegro 00:36:51 Horn Concerto No. 1
in D Major, KV 412: I. Allegro 00:41:40 Horn
Concerto No. 1 in D Major, KV 412: II. Rondo:
Allegro 00:45:45 Horn Concerto in E-Flat
Major, KV 370b/371: I. Allegro 00:53:06 Horn
Concerto in E-Flat Major, KV 370b/371: II.
Rondeau: Allegro 00:59:06 Horn Concerto No.
4 in E-Flat Major, KV 495: I. Allegro 01:06:47
Horn Concerto No. 4 in E-Flat Major, KV 495:
II. Romance: Andante 01:11:13Horn Concerto
No. 4 in E-Flat Major, KV 495: III. Rondo:
Allegro 01:15:18 Horn Concerto No. 1 in D
Major, KV 412: I. Allegro) [Artists: Herman
Jeurissen (horn),Netherlands (Chamber
Orchestra),Roy Goodman (conductor)
[Brilliant Classics]
Beethoven, Ludwig van. 9 SYMPHONIES
(Complete) [Artist: Staatskapelle Dresden,
Herbert Blomstedt (conductor) Beethoven’s
nine symphonies – composed between 1800
and 1824 – are true cornerstones of the
classical canon. Marking an irrefutable turning
point in the history of music, they transformed
audiences’ expectations of the symphony and
influenced the genre’s future development
through their experimental, dramatic and
expressive weight. Conductors have long
been drawn to the profundity of these works: a
complete cycle of Beethoven symphonies is
viewed as one of the ultimate challenges in
the repertoire, and the performances in this
set are undoubtedly among the greatest to
have been recorded, illuminating the skill of
the Staatskapelle Dresden and Herbert
Blomstedt, one of the most distinguished
conductors of the 20th and 21st centuries.
00:00:00 Symphony No. 1 in C, Op. 21: I.
Adagio molto – Allegro con brio 00:09:03
Symphony No. 1 in C, Op. 21: II. Andante
cantabile con moto 00:17:36 Symphony No. 1
in C, Op. 21: III. Menuetto & Trio: Allegro
molto e vivace 00:21:02 Symphony No. 1 in C,
Op. 21: IV. Finale: Adagio – Allegro molto e

vivace 00:27:21 Symphony No. 3 in E-Flat,
Op. 55 ‘EROICA’: I. Allegro con brio 00:42:24
Symphony No. 3 in E-Flat, Op. 55 ‘EROICA’:
II. Marcia funebre: Adagio assai 00:59:11
Symphony No. 3 in E-Flat, Op. 55 ‘EROICA’:
III. Scherzo & Trio: Allegro vivace 01:05:01
Symphony No. 3 in E-Flat, Op. 55 ‘EROICA’:
IV. Allegro molto – Poco andante – Presto
01:16:50 Symphony No. 2 in D, Op. 36: I.
Adagio molto – Allegro con brio 01:29:56
Symphony No. 2 in D, Op. 36: II. Larghetto
01:42:30 Symphony No. 2 in D, Op. 36: III.
Scherzo & Trio: Allegro 01:46:37 Symphony
No. 2 in D, Op. 36: IV. Allegro molto 01:53:30
Symphony No. 4 in B-Flat, Op. 60: I. Adagio –
Allegro vivace 02:05:40 Symphony No. 4 in B-
Flat, Op. 60: II. Adagio 02:16:12 Symphony
No. 4 in B-Flat, Op. 60: III. Menuetto: Allegro
vivace – Trio: Un poco meno allegro 02:22:03
Symphony No. 4 in B-Flat, Op. 60: IV. Allegro
ma non troppo 02:29:14 Symphony No.5 in C
Minor, Op. 67: I. Allegro con brio 02:37:19
Symphony No.5 in C Minor, Op. 67: II.
Andante con moto 02:48:41 Symphony No.5
in C Minor, Op. 67: III. Allegro 02:57:34
Symphony No.5 in C Minor, Op. 67: IV.
Allegro – Presto 03:06:37 Symphony No. 6 in
F, Op. 68 ‘PASTORAL’: I. Allegro ma non
troppo (Erwachen heiterer Empfindungen bei
der Ankunft auf dem Lande) 03:16:08
Symphony No. 6 in F, Op. 68 ‘PASTORAL’: II.
Andante molto mosso (Szene am Bach)
03:28:49 Symphony No. 6 in F, Op. 68
‘PASTORAL’: III. Allegro – sempre più stretto
– In tempo d’allegro – Tempo I – Presto
(Lustiges Zusammensein der Landleute)
03:34:33 Symphony No. 6 in F, Op. 68
‘PASTORAL’: IV. Allegro (Gewitter, Sturm)
03:38:16 Symphony No. 6 in F, Op. 68
‘PASTORAL’: V. Allegretto (Hirtengesang,
frohe und dankbare Gefühle nach dem Sturm)
03:48:07 Symphony No. 7 in A, Op. 92: I.
Poco sostenuto – Vivace 04:01:38 Symphony
No. 7 in A, Op. 92: II. Allegretto 04:11:36
Symphony No. 7 in A, Op. 92: III. Presto –
Assai meno presto 04:21:21 Symphony No. 7
in A, Op. 92: IV. Allegro con brio 04:30:34
Symphony No. 8 in F, Op. 93: I. Allegro vivace
e con brio 04:40:37 Symphony No. 8 in F, Op.
93: II. Allegretto scherzando 04:44:33
Symphony No. 8 in F, Op. 93: III. Tempo di
Menuetto 04:49:20 Symphony No. 8 in F, Op.
93: IV. Allegro vivace 04:57:11 Symphony No.
2
9 in D Minor, Op. 125 ‘CHORAL’: I. Allegro ma
non troppo, un poco maestoso 05:14:06
Symphony No. 9 in D Minor, Op. 125
‘CHORAL’: II. Molto vivace – Presto 05:27:54
Symphony No. 9 in D Minor, Op. 125
‘CHORAL’: III. Adagio molto e cantabile –
Andante moderato – Tempo I – Andante
moderato – Adagio – Lo stesso tempo
05:44:19 Symphony No. 9 in D Minor, Op. 125
‘CHORAL’: IV. Presto – Allegro assai – Presto
– Recitativo – Allegro assai – Allegro assai
vivace (alla marcia) – Andante maestoso –
Adagio ma non troppo ma divoto – Allegro
energico e sempre ben marcato – Allegro ma
non tanto Presto – Maestoso – Prestissimo]
ROMANTIC PIANO CONCERTOS (Vol. 1)
[The perfect starting point for exploring
Romantic piano music. It features historic
recordings of a truly excellent standard,
including Blumental with the Vienna
Symphony Orchestra under Helmuth
Froschauer, the Orchestra of Radio
Luxembourg with Pierre Cao accompanying
French pianist Dosse, Boehm with the
Westphalian Symphony Orchestra under
Siegfried Landau, and Antal Doráti conducting
the Royal Philharmonic Orchestra with Ilse
von Alpenheim. This 40 CD set contains a
wealth of 19th century piano concertos written
by composers who for some reason or other
have been neglected by history, so called
“minor masters” who may have lost the battle
against the giants but nevertheless wrote very
attractive, impressive and brilliant concertos
for the piano (which in many cases was “their”
instrument). To name just a few: Hummel,
Field, Czerny, Cramer, Ries, Clementi,
Thalberg, Moscheles, Litolff, Kalkbrenner,
Lyapunov, Balakirev, Medtner, Glazunov,
Henselt, Moszkowski, Scharwenka and many
more, over 60 composers! Most of the
recordings come from the rich and unique
VOX catalogue, featuring such excellent
pianists as Michael Ponti, Felicja Blumenthal,
Hans Kann, Martin Galling, Jerome Rose,
Roland Keller and many more. John Baptist
Cramer: 00:00:00 Piano Concerto No. 5 in C
Minor, Op. 48: I. Allegro maestoso 00:14:25
Piano Concerto No. 5 in C Minor, Op. 48: II.
Larghetto 00:21:11 Piano Concerto No. 5 in C
Minor, Op. 48: III. Rondo à l’hongroise Carl

Czerny: 00:29:59 Divertissement de concert,
Op. 204 Ferdinand Ries: 00:44:43 Piano
Concerto No. 3 in C-Sharp Minor, Op. 55: I.
Allegro maestoso ( Ries) 00:59:34 Piano
Concerto No. 3 in C-Sharp Minor, Op. 55: II.
Larghetto 01:04:37 Piano Concerto No. 3 in
C-Sharp Minor, Op. 55: III. Rondo. Allegretto
Muzio Clementi 01:15:14 Piano Concerto in C
Major: I. Allegro con spirit 01:24:58 Piano
Concerto in C Major: II. Adagio e cantabile,
con grande espressione 01:31:42 Piano
Concerto in C Major: III. Presto John Field:
01:38:13 Piano Concerto No. 2 in A-Flat
Major, H.31: I. Allegro moderato 01:55:04
Piano Concerto No. 2 in A-Flat Major, H.31: II.
Poco adagio 01:58:35 Piano Concerto No. 2
in A-Flat Major, H.31: III. Allegro moderato
innocente Johann Nepomuk Hummel:
02:08:01 Piano Concertino in G Major, Op. 73:
I. Allegro moderato 02:16:52 Piano Concertino
in G Major, Op. 73: II. Andante grazioso
02:21:05 Piano Concertino in G Major, Op. 73:
III. Rondo Ignaz Moscheles: 02:25:45 Piano
Concerto in G Minor, Op. 58: I. Allegro
moderato 02:37:40 Piano Concerto in G
Minor, Op. 58: II. Adagio 02:42:18 Piano
Concerto in G Minor, Op. 58: III. Allegro
agitato Ferdinand Hiller: 02:51:18 Piano
Concerto No. 2 in F-Sharp Minor, Op. 69: I.
Moderato, ma con energia e con fuoco
02:58:08 Piano Concerto No. 2 in F-Sharp
Minor, Op. 69: II. Andante espressivo
03:04:01 Piano Concerto No. 2 in F-Sharp
Minor, Op. 69: III. Finale. Allegro con fuoco
Henry Litolff: 03:09:05 Concerto symfonique
No. 3 in E-Flat Major, Op. 45: I. Allegro
03:19:22 Concerto symfonique No. 3 in E-Flat
Major, Op. 45: II. Scherzo 03:24:04 Concerto
symfonique No. 3 in E-Flat Major, Op. 45: III.
Andante 03:30:19 Concerto symfonique No. 3
in E-Flat Major, Op. 45: IV. Furioso] (Brilliant
Classics)
ROMANTIC PIANO CONCERTOS (Vol. 2)
[Friedrich Kalkbrenner: 00:00:00 Piano
Concerto No. 1 in D Minor, Op. 61: I. Allegro
maestoso 00:13:20 Piano Concerto No. 1 in D
Minor, Op. 61: II. Adagio molto 00:20:33 Piano
Concerto No. 1 in D Minor, Op. 61: III. Rondo.
Vivace Johann Nepomuk Hummel: 00:29:58
Piano Concerto No. 4 in E Major, Op. 110: I.
Allegro pomposo e spirituoso 00:44:11 Piano
Concerto No. 4 in E Major, Op. 110: II.
3
Andante con moto 00:50:56 Piano Concerto
No. 4 in E Major, Op. 110: III. Rondo. Allegro
moderato ma con brio Carl Maria Von Weber:
00:57:53 Piano Concerto No. 1 in C Major,
Op. 11: I. Allegro 01:14:13 Piano Concerto
No. 1 in C Major, Op. 11: II. Adagio 01:32:25
Piano Concerto No. 1 in C Major, Op. 11: III.
Presto 01:45:43 Piano Concerto No. 2 in E-
Flat Major, Op. 32: I. Allegro moderato
01:53:08 Piano Concerto No. 2 in E-Flat
Major, Op. 32: II. Adagio 02:02:11 Piano
Concerto No. 2 in E-Flat Major, Op. 32: III.
Rondo. Presto 02:22:58 Konzertstück in F
Minor, Op. 79 Robert Volkmann: 02:35:14
Konzertstück in C Minor, Op. 42 Adolf von
Henselt: 02:39:22 Piano Concerto in F Minor,
Op. 16: I. Allegro patetico 02:46:05 Piano
Concerto in F Minor, Op. 16: II. Larghetto
02:57:03 Piano Concerto in F Minor, Op. 16:
III. Allegro agitato Ferdinand Hiller: 03:05:42
Konzertstück for Piano and Orchestra, Op.
113 Frédéric Chopin: 03:14:09 Allegro de
concert in A Major, Op. 46] (Brilliant Classics)
ROMANTIC PIANO CONCERTOS (Vol. 3)
[Moritz Moszkowski: 00:00:00 Piano Concerto
in E Major, Op. 59: I. Moderato 00:11:36
Piano Concerto in E Major, Op. 59: II.
Andante 00:19:42 Piano Concerto in E Major,
Op. 59: III. Scherzo. Vivace 00:26:46 Piano
Concerto in E Major, Op. 59: IV. Allegro
deciso Xaver Scharwenka: 00:36:01 Piano
Concerto No. 2 in C Minor, Op. 56: I. Allegro
00:53:14 Piano Concerto No. 2 in C Minor,
Op. 56: II. Adagio 01:01:49 Piano Concerto
No. 2 in C Minor, Op. 56: III. Allegro non
troppo Joachim Raff: 01:09:43 Piano Concerto
in C Minor, Op. 185: I. Allegro 01:20:36 Piano
Concerto in C Minor, Op. 185: II. Andante
quasi larghetto 01:28:33 Piano Concerto in C
Minor, Op. 185: III. Finale. Allegro Mihály
Mosonyi: 01:37:18 Piano Concerto in E Minor:
I. Allegro moderato, II. Adagio con moto, III.
Allegro Bernhard Stavenhagen: 01:56:38
Piano Concerto No. 1 in B Minor, Op. 4: I.
Sehr energisch und lebhaft 02:06:50 Piano
Concerto No. 1 in B Minor, Op. 4: II. Adagio
02:15:58 Piano Concerto No. 1 in B Minor,
Op. 4: III. Erstes Zeitmaß. Sehr
leidenschaftlich Felix Mendelssohn: 02:21:43
Concerto for Violin and Piano in D Minor,
MWV O 4: I. Allegro 02:40:17 Concerto for
Violin and Piano in D Minor, MWV O 4: II.

Adagio 02:49:29 Concerto for Violin and Piano
in D Minor, MWV O 4: III. Allegro molto
02:58:09 Piano Concerto in A Minor, MWV O
2: I. Allegro. 03:12:15 Piano Concerto in A
Minor, MWV O 2: II. Adagio 03:22:09 Piano
Concerto in A Minor, MWV O 2: III. Finale,
allegro ma non troppo] (Brilliant Classics)
ROMANTIC PIANO CONCERTOS (Vol. 4)
[Franz Liszt: 00:00:00 Malédiction in E Minor,
S. 121 Eugen D'Albert: 00:14:11 Piano
Concerto No. 2 in E Major, Op. 12 Hans Von
Bronsart: 00:29:45 Piano Concerto in F-Sharp
Minor, Op. 10: I. Allegro maestoso 00:42:38
Piano Concerto in F-Sharp Minor, Op. 10: II.
Adagio ma non troppo 00:50:06 Piano
Concerto in F-Sharp Minor, Op. 10: III. Allegro
con fuoco Franz Berwald: 00:57:00 Piano
Concerto in D Major: I. Allegro con brio, II.
Andantino, III. Allegro molto Charles Henri
Valentin Alkan: 01:15:05 Concerto da camera
No. 2 in C-Sharp Minor Robert Schumann:
01:21:49 Konzertstück in G Major, Op. 92
Joachim Raff: 01:35:46 Ode au printemps in
G Major, Op. 76 Franz Liszt: 01:48:46
Totentanz, S. 126 Simon Mayr: 02:03:58
Piano Concerto No. 1 in C Major: I. Allegro
moderato 02:12:21 Piano Concerto No. 1 in C
Major: II. Andante grazioso 02:18:05 Piano
Concerto No. 1 in C Major: III. Rondo Albert
Roussel: 02:21:30 Piano Concerto in G Major,
Op. 36: I. Allegro molto 02:25:23 Piano
Concerto in G Major, Op. 36: II. Adagio
02:33:54 Piano Concerto in G Major, Op. 36:
III. Allegro con spirit Gabriel Pierné: 02:38:35
Piano Concerto in C Minor, Op. 12: I. Allegro
02:46:51 Piano Concerto in C Minor, Op. 12:
II. Scherzando 02:51:42 Piano Concerto in C
Minor, Op. 12: III. Final. Allegro un poco
agitato] (Brilliant Classics)
ROMANTIC PIANO CONCERTOS (Vol. 5)
[Piotr Ilyich Tchaikovsky: 00:00:00 Piano
Concerto No. 3 in E-Flat Major, Op. 75: I.
Allegro brillante 00:14:23 Piano Concerto No.
3 in E-Flat Major, Op. 75: II. Andante 00:23:56
Piano Concerto No. 3 in E-Flat Major, Op. 75:
III. Finale. Allegro maestoso 00:31:50 Concert
Fantasy in G Major, Op. 56: I. Quasi rondo.
Andante mosso 00:46:40 Concert Fantasy in
G Major, Op. 56: II. Contrastes. Andante
cantabile Christian Sinding: 00:59:55 Piano
Concerto in D-Flat Major, Op. 6: I. Allegro non
4
troppo 01:09:18 Piano Concerto in D-Flat
Major, Op. 6: II. Andante 01:17:39 Piano
Concerto in D-Flat Major, Op. 6: III. Allegro
non assai Hermann Goetz: 01:26:16 Piano
Concerto No. 2 in B-Flat Major, Op. 18: I.
Mäßig bewegt, II. Mäßig langsam 01:47:06
Piano Concerto No. 2 in B-Flat Major, Op. 18:
III. Langsam, IV. Lebhaft Carl Reinecke:
01:55:44 Piano Concerto No. 1 in F-Sharp
Minor, Op. 72: I. Allegro 02:06:41 Piano
Concerto No. 1 in F-Sharp Minor, Op. 72: II.
Adagio, ma non troppo 02:12:39 Piano
Concerto No. 1 in F-Sharp Minor, Op. 72: III.
Finale. Allegro con brio Felix Mendelssohn:
02:19:56 Capriccio brillant in B Minor, Op. 22
Josef Rheinberger: 02:30:56 Piano Concerto
in A-Flat Major, Op. 94: I. Moderato 02:42:51
Piano Concerto in A-Flat Major, Op. 94: II.
Adagio pathetico 02:49:50 Piano Concerto in
A-Flat Major, Op. 94: III. Finale. Allegro
energico Anton Rubinstein: 02:59:02 Piano
Concerto No. 4 in D Minor, Op. 70: I.
Moderato assai 03:10:22 Piano Concerto No.
4 in D Minor, Op. 70: II. Andante 03:19:03
Piano Concerto No. 4 in D Minor, Op. 70: III.
Allegro Sigismond Thalberg: 03:28:14 Piano
Concerto in F Minor, Op. 5: I. Allegro
maestoso 03:39:36 Piano Concerto in F
Minor, Op. 5: II. Adagio 03:43:11 Piano
Concerto in F Minor, Op. 5: III. Rondo.
Allegro] (Brilliant Classics)
ROMANTIC PIANO CONCERTOS (Vol. 5)
[Nikolai Medtner: 00:00:00 Piano Concerto
No. 3 in E Minor, Op. 60: I. Con moto,
largamente 00:12:35 Piano Concerto No. 3 in
E Minor, Op. 60: II. Interludium. Allegro molto
sostenuto, misterioso, III. Finale. Allegro molto
Mili Balakirev: 00:30:18 Piano Concerto No. 2
in E-Flat Major: I. Allegro non troppo 00:43:30
Piano Concerto No. 2 in E-Flat Major: II.
Adagio, III. Allegro risoluto Sergei Lyapunov:
01:01:58 Rhapsody on Ukrainian Themes,
Op. 28 Édouard Lalo: 01:18:22 Piano
Concerto in F Minor: I. Lento – Allegro
01:30:19 Piano Concerto in F Minor: II. Lento
01:37:14 Piano Concerto in F Minor: III.
Allegro Alexander Glazunov: 01:43:34 Piano
Concerto No. 2 in B Major, Op. 100 George
Jacob Gershovitz Gershwin: 02:03:00 Piano
Concerto in F Major: I. Allegro 02:15:44 Piano
Concerto in F Major: II. Andante con moto
02:26:58 Piano Concerto in F Major: III.

Allegro agitato Samuel Barber: 02:34:04
Piano Concerto Op. 38: I. Allegro
appassionato 02:48:33 Piano Concerto Op.
38: II. Canzone. Moderato 02:56:22 Piano
Concerto Op. 38: III. Allegro molto Edward
MacDowell 03:02:40 Piano Concerto No. 2 in
D Minor, Op. 23: I. Larghetto calmato
03:14:46 Piano Concerto No. 2 in D Minor,
Op. 23: II. Presto giocoso 03:19:40 Piano
Concerto No. 2 in D Minor, Op. 23: III. Largo –
Molto allegro Amy Beach: 03:27:11 Piano
Concerto in C-Sharp Minor, Op. 45: I. Allegro
moderato 03:44:27 Piano Concerto in C-
Sharp Minor, Op. 45: II. Scherzo. Vivace
03:49:56 Piano Concerto in C-Sharp Minor,
Op. 45: III. Largo 03:54:14 Piano Concerto in
C-Sharp Minor, Op. 45: IV. Allegro con
scioltezza] (Brilliant Classics)
Bach, Johann Sebastian. THE VIOLIN
CONCERTOS (Composer: Johann Sebastian
Bach Artists: Emmy Verhey (violin), Camerata
Antonio Luco, Rainer Kussmaul (violin), Henk
Rubingh (violin), Thomas Hengelbrock (violin),
Amsterdam Bach (Soloists) About this album:
Available as a separate release: all concertos
for 1 violin by Bach. They are BWV 1041 and
1042: the well-known concertos. BWV1052,
1056 and 1064 are reconstructions. The latter
one being for three violins. Soloists are among
others Emmy Verhey and Rainer Kussmaul.
Tracklist: 00:00:00 Violin Concerto in A Minor,
BWV 1041: Allegro 00:03:52 Violin Concerto
in A Minor, BWV 1041: Adagio 00:10:23 Violin
Concerto in A Minor, BWV 1041: Allegro
00:14:22 Violin Concerto in E Major, BWV
1042: Allegro 00:22:05 Violin Concerto in E
Major, BWV 1042: Adagio 00:28:47 Violin
Concerto in E Major, BWV 1042: Allegro assai
00:31:42 Violin Concerto in D Minor, BWV
1052: Allegro 00:39:20 Violin Concerto in D
Minor, BWV 1052: Largo 00:46:22 Violin
Concerto in D Minor, BWV 1052: Presto
00:54:14 Violin Concerto in G Minor, BWV
1056: Allegro 00:57:37 Violin Concerto in G
Minor, BWV 1056: Andante 01:00:52 Violin
Concerto in G Minor, BWV 1056: Allegro assai
01:04:30 Concerto for 3 violins, strings & b.c.
in D Major, BWV 1064: Allegro 01:10:23
Concerto for 3 violins, strings & b.c. in D
Major, BWV 1064: Adagio 01:15:35 Concerto
for 3 violins, strings & b.c. in D Major, BWV
1064: Allegro) [Brilliant Classics]
5
Tchaikovsky, Peter. THE COMPLETE
BALLETS (Swan Lake, Sleeping Beauty,
Nutcracker) [Swan Lake, Op. 20, Pt. 1: I.
Introduction. Moderato assai 00:03:07 Swan
Lake, Op. 20, Pt. 1: II. Scène. Allegro giusto
00:06:09 Swan Lake, Op. 20, Pt. 1: III. Valse.
Tempo di valse 00:13:26 Swan Lake, Op. 20,
Pt. 1: IV. Scène: Entrance of Pages. Allegro
moderato 00:17:34 Swan Lake, Op. 20, Pt. 1:
V. Pas de trois. Intrada (Allegro moderato)
00:20:26 Swan Lake, Op. 20, Pt. 1: V. Pas de
trois. Andante sostenuto 00:24:18 Swan Lake,
Op. 20, Pt. 1: V. Pas de trois. Allegro semplice
– Presto 00:25:32 Swan Lake, Op. 20, Pt. 1:
V. Pas de trois. Prince (Moderato) 00:26:52
Swan Lake, Op. 20, Pt. 1: V. Pas de trois.
Allegro 00:28:00 Swan Lake, Op. 20, Pt. 1: V.
Pas de trois. Coda (Allegro vivace) 00:29:50
Swan Lake, Op. 20, Pt. 1: VI. Pas de deux.
Intrada (Tempo di valse) 00:31:35 Swan Lake,
Op. 20, Pt. 1: VI. Pas de deux. Andante
00:37:12 Swan Lake, Op. 20, Pt. 1: VI. Pas de
deux. Tempo di valse 00:38:57 Swan Lake,
Op. 20, Pt. 1: VI. Pas de deux. Intrada
(Tempo di valse) 00:40:57 Swan Lake, Op.
20, Pt. 1: VI. Pas de deux. Pas d’action
(Andantino quasi moderato - Allegro) 00:43:50
Swan Lake, Op. 20, Pt. 1: VII. Scène. Dusk
falls 00:44:46 Swan Lake, Op. 20, Pt. 1: VIII.
Danse des coupes (Polonaise) 00:50:28 Swan
Lake, Op. 20, Pt. 1: IX. Finale. Swan Theme
(Andante) 00:53:15 Swan Lake, Op. 20, Pt. 2:
I. Scène. Swan Theme (Moderato) 00:59:46
Swan Lake, Op. 20, Pt. 2: II. Scène. Allegro
moderato - Moderato - Allegro vivo 01:03:37
Swan Lake, Op. 20, Pt. 2: III. Danses des
cygnes 01:05:34 Swan Lake, Op. 20, Pt. 2: IV.
Danses des petits cygnes 01:07:02 Swan
Lake, Op. 20, Pt. 2: V. Pas d’action. Second
Dance of the Queen (Andante) 01:15:06 Swan
Lake, Op. 20, Pt. 2: VI. Tempo di valse
01:16:47 Swan Lake, Op. 20, Pt. 2: VII. Coda.
Allegro vivace 01:18:28 Swan Lake, Op. 20,
Pt. 2: VIII. Scène finale. Swan theme
(Moderato) 01:21:36 Swan Lake, Op. 20, Pt.
3: I. Scène. Danse de fançailles (Allegro
giusto) 01:24:23 Swan Lake, Op. 20, Pt. 3: II.
Scène. La sortie des invités et la valse
01:29:17 Swan Lake, Op. 20, Pt. 3: III. Scène.
Allegro - Allegro giusto 01:31:03 Swan Lake,
Op. 20, Pt. 3: IV. Pas de six. Intrada
(Moderato assai) 01:33:00 Swan Lake, Op.
20, Pt. 3: IV. Pas de six. Variation 1 (Allegro)

01:34:07 Swan Lake, Op. 20, Pt. 3: IV. Pas de
six. Variation 2 (Andante con moto) 01:37:27
Swan Lake, Op. 20, Pt. 3: IV. Pas de six.
Variation 3 (Moderato) 01:38:14 Swan Lake,
Op. 20, Pt. 3: IV. Pas de six. Variation 4
(Allegro) 01:39:18 Swan Lake, Op. 20, Pt. 3:
IV. Pas de six. Variation 5 (Moderato - Allegro
semplice) - Coda (Allegro molto vivace)
01:42:54 Swan Lake, Op. 20, Pt. 3: V. Dance
hongroise. Czárdás 01:46:40 Swan Lake, Op.
20, Pt. 3: VI. Danse russe 01:51:21 Swan
Lake, Op. 20, Pt. 3: VII. Danse espagnole
01:53:49 Swan Lake, Op. 20, Pt. 3: VIII.
Danse napolitaine 01:56:23 Swan Lake, Op.
20, Pt. 3: IX. Mazurka 02:00:28 Swan Lake,
Op. 20, Pt. 3: X. Scène. Allegro - Valse -
Allegro vivo 02:04:20 Swan Lake, Op. 20, Pt.
4: I. Entr’acte. Moderato 02:06:53 Swan Lake,
Op. 20, Pt. 4: II. Scène. Allegro non troppo
02:09:42 Swan Lake, Op. 20, Pt. 4: III.
Danses des petits cygnes. Moderato 02:15:04
Swan Lake, Op. 20, Pt. 4: IV. Scène. Allegro
agitato 02:18:22 Swan Lake, Op. 20, Pt. 4: V.
Scène finale. Andante
02:25:18 The Sleeping Beauty, Op. 66,
Prologue: I. Introduction 02:28:02 The
Sleeping Beauty, Op. 66, Prologue: II. March
02:32:27 The Sleeping Beauty, Op. 66,
Prologue: III. Scène dansante 02:36:51 The
Sleeping Beauty, Op. 66, Prologue: IV. Pas de
Six. Entrée 02:37:28 The Sleeping Beauty,
Op. 66, Prologue: IV. Pas de Six. Adagio
02:41:30 The Sleeping Beauty, Op. 66,
Prologue: IV. Pas de Six. Variation 1
(Candide) 02:42:39 The Sleeping Beauty, Op.
66, Prologue: IV. Pas de Six. Variation 2
(Coulante. Fleur de Farine) 02:43:14 The
Sleeping Beauty, Op. 66, Prologue: IV. Pas de
Six. Variation 3 (Miettes qui tombent) 02:44:27
The Sleeping Beauty, Op. 66, Prologue: IV.
Pas de Six. Variation 4 (Canari qui chante)
02:44:59 The Sleeping Beauty, Op. 66,
Prologue: IV. Pas de Six. Variation 5
(Violente) 02:46:15 The Sleeping Beauty, Op.
66, Prologue: IV. Pas de Six. Variation 6 (La
Fée des Lilas) 02:47:22 The Sleeping Beauty,
Op. 66, Prologue: IV. Pas de Six. Coda
02:49:01 The Sleeping Beauty, Op. 66,
Prologue: IV. Pas de Six. Finale 02:57:39 The
Sleeping Beauty, Op. 66, Pt. 1: I. Scène
03:00:45 The Sleeping Beauty, Op. 66, Pt. 1:
II. Valse 03:05:45 The Sleeping Beauty, Op.
6
66, Pt. 1: III. Entrée d’Aurore 03:07:45 The
Sleeping Beauty, Op. 66, Pt. 1: IV. Pas
d’action. Rose Adage 03:14:18 The Sleeping
Beauty, Op. 66, Pt. 1: IV. Pas d’action.
Variation d’aurore 03:17:44 The Sleeping
Beauty, Op. 66, Pt. 1: IV. Pas d’action. Coda
03:20:16 The Sleeping Beauty, Op. 66, Pt. 1:
IV. Pas d’action. Finale 03:27:07 The Sleeping
Beauty, Op. 66, Pt. 2: I. Entr’acte – Scène
03:29:50 The Sleeping Beauty, Op. 66, Pt. 2:
II. Colin-maillard 03:30:52 The Sleeping
Beauty, Op. 66, Pt. 2: III. Scène 03:35:09 The
Sleeping Beauty, Op. 66, Pt. 2: IV. Pas
d’action 03:40:22 The Sleeping Beauty, Op.
66, Pt. 2: V. Variation d’Aurore 03:42:00 The
Sleeping Beauty, Op. 66, Pt. 2: VI. Panorama
03:44:08 The Sleeping Beauty, Op. 66, Pt. 2:
VII. Entr’acte 03:50:51 The Sleeping Beauty,
Op. 66, Pt. 2: VIII. Entr’acte symphonique “Le
Sommeil” – Scène 03:57:05 The Sleeping
Beauty, Op. 66, Pt. 2: IX. Finale 03:57:52 The
Sleeping Beauty, Op. 66, Pt. 3: I. Marche
03:59:56 The Sleeping Beauty, Op. 66, Pt. 3:
II. Pas de caractère ”Le Chat botté et La
Chatte blanche” 04:02:27 The Sleeping
Beauty, Op. 66, Pt. 3: III. Pas de quatre
04:04:39 The Sleeping Beauty, Op. 66, Pt. 3:
IV. Pas de deux. Entrée 04:05:45 The
Sleeping Beauty, Op. 66, Pt. 3: IV. Pas de
deux. Adagio 04:10:29 The Sleeping Beauty,
Op. 66, Pt. 3: IV. Pas de deux. Variation 1
04:11:32 The Sleeping Beauty, Op. 66, Pt. 3:
IV. Pas de deux. Variation 2 04:13:17 The
Sleeping Beauty, Op. 66, Pt. 3: IV. Pas de
deux. Coda 04:14:37 The Sleeping Beauty,
Op. 66, Pt. 3: IV. Pas de deux. Polacca
04:18:40 The Nutcracker, Op. 71, Pt. 1: I.
Overture 04:22:02 The Nutcracker, Op. 71, Pt.
1: II. The Christmas Tree 04:26:05 The
Nutcracker, Op. 71, Pt. 1: III. March 04:28:26
The Nutcracker, Op. 71, Pt. 1: IV. Children’s
Galop - Arrival of the Guests 04:30:55 The
Nutcracker, Op. 71, Pt. 1: V. Dance Scene -
Arrival of Drosselmeyer 04:36:53 The
Nutcracker, Op. 71, Pt. 1: VI. Scene -
Grandfather’s Dance 04:43:41 The
Nutcracker, Op. 71, Pt. 1: VII. The Magic Spell
Begins 04:50:29 The Nutcracker, Op. 71, Pt.
1: VIII. The Battle Between the Nutcracker
and the Mouse King 04:53:59 The Nutcracker,
Op. 71, Pt. 1: IX. Scene in the Pine Forest
“Journey through the Snow” 04:57:40 The
Nutcracker, Op. 71, Pt. 1: X. Waltz of the

Snowflakes 05:04:05 The Nutcracker, Op. 71,
Pt. 2: XI. The Magic Castle 05:07:55 The
Nutcracker, Op. 71, Pt. 2: XII. Clara & the
Prince - XIII. Divertissement 05:12:28 The
Nutcracker, Op. 71, Pt. 2: XIV. Chocolate.
Spanish Dance 05:13:39 The Nutcracker, Op.
71, Pt. 2: XV. Coffee. Arabian Dance 05:17:03
The Nutcracker, Op. 71, Pt. 2: XVI. Tea.
Chinese Dance 05:18:10 The Nutcracker, Op.
71, Pt. 2: XVII. Trepak 05:19:19 The
Nutcracker, Op. 71, Pt. 2: XVIII. Dance of the
Mirlitons 05:21:41 The Nutcracker, Op. 71, Pt.
2: XIX. Mother Gigogne and the Clowns
05:24:32 The Nutcracker, Op. 71, Pt. 2: XX.
Waltz of the Flowers 05:31:14 The
Nutcracker, Op. 71, Pt. 2: XXI. Pas de Deux.
Dance of the Prince and the Sugar-Plum Fairy
05:35:44 The Nutcracker, Op. 71, Pt. 2: XXI.
Pas de Deux. Variation 1, Tarantella 05:36:28
The Nutcracker, Op. 71, Pt. 2: XXI. Pas de
Deux. Variation 2, Dance of the Sugar-Plum
Fairy 05:38:44 The Nutcracker, Op. 71, Pt. 2:
XXI. Pas de Deux. Coda 05:40:10 The
Nutcracker, Op. 71, Pt. 2: XXII. Finale. Final
Waltz and Apotheosis] (Brilliant Classics)
Tchaikovsky, Peter. PIANO CONCERTOS 1 & 2
(Artists: Derek Han (piano), St. Petersburg
Philharmonic Orchestra, Paul Freeman
(conductor) About this Album: This release
features two piano concertos by Tchaikovsky:
Concerto No. 1 and No. 2. Brilliant
performance by Derek Han, accompanied by
St. Petersburg Philharmonic under the baton
of Paul Freeman. Tracklist: 00:00:00 Piano
Concerto No. 1 in B-Flat Minor, Op. 23:
Allegro non troppo e molto maestoso; allegro
con spirito 00:19:23 Piano Concerto No. 1 in
B-Flat Minor, Op. 23: Andantino semplice;
Prestissimo 00:25:49 Piano Concerto No. 1 in
B-Flat Minor, Op. 23: Allegro con fuoco
00:32:42 Piano Concerto No. 2 in G Major,
Op. 44: Allegro brillante 00:53:01 Piano
Concerto No. 2 in G Major, Op. 44: Andante
non troppo) [Brilliant Classics]
Mozart, WA. THE CHAMBER MUSIC (Artists:
Ensemble Pyramide, Markus Brönnimann
(flute), Barbara Tillmann (oboe), Ulrike Jacoby
(violin), Muriel Schweizer (viola), Anita Jehli
(cello) For many Mozart is more ‘perfector’
than ‘innovator’, a composer who drew on an
already extant vocabulary to create some of
7
the greatest works in European culture. In this
recording, however, we are introduced to
Mozart the ‘trailblazer’: the first composer in
history to take wind instruments seriously.
Whereas his colleagues were inclined to
employ the so-called Harmonie merely to
reinforce the general sonority, Mozart took it
upon himself to exploit the character of each
of these instruments, endowing them with a
much more individualistic, distinctive role – as
soloists, in the orchestra or in chamber music,
the subject of this engaging release. Such
writing is evident in the Quartet for oboe and
strings, a work of wide leaps and brilliant
passages that was composed for the
Mannheim virtuoso Friedrich Ramm, and the
Flute Quartet in D – written for the highly
accomplished amateur musician Ferdinand
Dejean and in which the principal voice,
equipped with pearling runs in the first
movement, is treated with great care,
displaying nothing of the composer’s
supposed aversion to the instrument. Both
works are milestones of their respective
genres, and they are joined on this recording
by three pieces originally composed for
mechanical organ (and arranged for this
recording by flautist Markus Brönnimann),
originally commissioned by Count Deym to be
used as accompaniment for a newly erected
mausoleum in Vienna. Among these, the
Fantasia in F minor K608 stands out as the
most intense and dramatic, combining
rigorous harmonic invention with memorable
melody, polyphonic complexity and
compositional virtuosity. Brönnimann’s
suggestion as to a possible comparison with
the works of the American-born composer
Conlon Nancarrow, as mentioned in the
booklet note, reveals just how forwardthinking
this music was for its time. At hand to perform
these works is Ensemble Pyramide, a group
whose diverse repertoire ranges from
Baroque to 21st century and whose recital
programmes are often based around the
juxtaposition between new and old. Based in
Zurich and awarded the city’s cultural stipend
‘Werkjahr für Interpretation’ in 2006, its
recordings for radio and on CD (which take in
labels such as Naxos and Ars Musici) are
complemented by an active recording
schedule throughout Europe. 00:00:00
Quartet in F Major, K. 370: I. Allegro 00:07:03

Quartet in F Major, K. 370: II. Adagio 00:10:05
Quartet in F Major, K. 370: III. Rondeau.
Allegro 00:14:46 Adagio and Allegro in F
Minor K. 594 (Adagio - Allegro - Adagio)
00:24:54 Andante in F Major, K. 616 00:32:18
Fantasia in F Minor, K. 608 (Allegro - Andante
- Tempo primo) 00:41:40 Quartet in D Major,
K. 285: I. Allegro 00:48:49 Quartet in D Major,
K. 285: II. Adagio 00:51:41 Quartet in D Major,
K. 285: III. Rondeau. Allegretto) [Brilliant
Classics]
Mozart, WA. THE COMPLETE SYMPHONIES
(Vol. 1) [Tracklist: 00:00:00 Symphony No.1 in
E-Flat, K. 16: I. Molto allegro 00:05:57
Symphony No.1 in E-Flat, K. 16: II. Andante
00:11:01 Symphony No.1 in E-Flat, K. 16: III.
Presto 00:12:41 Symphony No. 4 in D, K. 19:
I. Allegro 00:15:04 Symphony No. 4 in D, K.
19: II. Andante 00:18:51 Symphony No. 4 in
D, K. 19: III. Presto 00:22:03 Symphony in F,
K. 19 A: I. Allegro assai 00:27:07 Symphony
in F, K. 19 A: II. Andante 00:31:50 Symphony
in F, K. 19 A: III. Presto 00:33:22 Symphony
No. 5 in B-Flat, K. 22: I. Allegro 00:36:07
Symphony No. 5 in B-Flat, K. 22: II. Andante
00:38:13 Symphony No. 5 in B-Flat, K. 22: III.
Molto allegro 00:39:41 Symphony No. 6 in F,
K. 43: I. Allegro 00:45:12 Symphony No. 6 in
F, K.43: II. Andante 00:50:25 Symphony No. 6
in F, K. 43: III. Menuetto & trio 00:52:23
Symphony No. 6 in F, K. 43: IV. Allegro
00:56:14 Symphony No. 45 in D, K. 45: I.
Molto allegro 00:58:52 Symphony No. 45 in D,
K. 45: II. Andante 01:00:50 Symphony No. 45
in D, K. 45: III. Menuetto & trio 01:04:34
Symphony No. 45 in D, K. 45: IV. Molto
allegro 01:07:18 Symphony No. 8 in D, K. 48:
I. Allegro 01:11:47 Symphony No. 8 in D, K.
48: II. Andante 01:15:23 Symphony No. 8 in
D, K. 48: III. Menuetto & Trio 01:19:16
Symphony No. 8 in D, K. 48: IV. Molto Allegro
01:22:46 Symphony No. 9 in C, K. 73: I.
Allegro 01:25:56 Symphony No. 9 in C, K. 73:
II. Andante 01:29:38 Symphony No. 9 in C, K.
73: III. Menuetto & Trio 01:32:42 Symphony
No. 9 in C, K. 73: IV. Molto Allegro 01:34:58
Symphony No. 10 in G, K. 74: I. Allegro –
Andante 01:40:23 Symphony No. 10 in G, K.
74: II. Allegro 01:42:40 Symphony No. 12 in
G, K. 110: I. Allegro 01:49:01 Symphony No.
12 in G, K. 110: II. Andante 01:53:03
Symphony No. 12 in G, K. 110: III. Menuetto &
8
Trio 01:57:04 Symphony No. 12 in G, K110:
IV. Allegro 01:59:02 Symphony No. 13 in F, K.
112: I. Allegro 02:04:18 Symphony No. 13 in
F, K. 112: II. Andante 02:07:28 Symphony No.
13 in F, K. 112: III. Menuetto & Trio 02:09:40
Symphony No. 13 in F, K. 112: IV. Molto
Allegro 02:12:02 Symphony No. 14 in A, K.
114: I. Allegro moderato 02:19:49 Symphony
No. 14 in A, K. 114: II. Andante 02:24:12
Symphony No. 14 in A, K. 114: III. Menuetto &
Trio 02:27:45 Symphony No. 14 in A, K. 114:
IV. Molto allegro 02:32:32 Symphony No. 15
in G, K. 124: I. Allegro 02:37:57 Symphony
No. 15 in G, K. 124: II. Andante 02:42:33
Symphony No. 15 in G, K. 124: III. Menuetto &
trio 02:44:47 Symphony No. 15 in G, K. 124:
IV. Presto 02:46:57 Symphony No. 16 in C, K.
128: I. Allegro maestoso 02:51:36 Symphony
No. 16 in C, K. 128: II. Andante grazioso
02:57:01 Symphony No. 16 in C, K. 128: III.
Allegro 03:01:05 Symphony No. 17 in G, K.
129: I. Allegro 03:07:23 Symphony No. 17 in
G, K. 129: II. Andante 03:12:52 Symphony
No. 17 in G, K. 129: III. Allegro 03:15:46
Symphony No. 20 in D, K. 133: I. Allegro
03:23:01 Symphony No. 20 in D, K. 134: II.
Andante 03:28:51 Symphony No. 20 in D, K.
135: III. Menuetto & Trio 03:32:56 Symphony
No. 20 in D, K. 136: IV. Allegro 03:38:45
Symphony No. 21 in A, K. 134: I. Allegro
03:45:55 Symphony No. 21 in A, K. 135: II.
Andante 03:51:10 Symphony No. 21 in A, K.
136: III. Menuetto & Trio 03:54:26 Symphony
No. 21 in A, K. 137: IV. Allegro 03:59:32
Symphony No. 22 in C, K. 162: I. Allegro assai
04:03:07 Symphony No. 22 in C, K. 163: II.
Andantino grazioso 04:06:04 Symphony No.
22 in C, K. 164: III. Presto assai 04:07:57
Symphony No. 23 in D, K. 181: I. Allegro
spiritoso 04:13:17 Symphony No. 23 in D, K.
182: II. Andantino grazioso 04:15:16
Symphony No. 23 in D, K. 183: III. Presto
assai 04:17:27 Symphony No. 27 in G, K. 199:
I. Allegro 04:24:05 Symphony No. 27 in G, K.
199: II. Andantino grazioso 04:28:55
Symphony No. 27 in G, K. 199: III. Presto
04:35:09 Symphony No. 28 in C, K. 200: I.
Allegro spiritoso 04:42:27 Symphony No. 28 in
C, K. 200: II. Andante 04:50:11 Symphony No.
28 in C, K. 200: III. Menuetto & Trio 04:54:30
Symphony No. 28 in C, K. 200: IV. Presto
05:00:00 Symphony No. 30 in D, K. 202: I.
Molto allegro 05:05:59 Symphony No. 30 in D,

K. 202: II. Andantino con moto 05:11:10
Symphony No. 30 in D, K. 202: III. Menuetto &
Trio 05:15:27 Symphony No. 30 in D, K. 202:
IV. Presto] (Brilliant Classics)
Mozart, WA. THE COMPLETE SYMPHONIES
(Vol. 2) [Tracklist: 00:00:00 Symphony in D, K.
111A: I. Allegro assai 00:03:30 Symphony in
D, K. 111A: II. Andante grazioso 00:04:49
Symphony in D, K. 111A: III. Presto 00:06:13
Symphony No. 18 in F, K. 130: I. Allegro
00:13:50 Symphony No. 18 in F, K. 131: II.
Andantino grazioso 00:20:44 Symphony No.
18 in F, K. 132: III. Menuetto 00:23:11
Symphony No. 18 in F, K. 133: IV. Molto
allegro 00:30:51 Symphony No. 19 in E-Flat,
K. 132: I. Allegro 00:35:07 Symphony No. 19
in E-Flat, K. 133: II. Andante 00:41:59
Symphony No. 19 in E-Flat, K. 134: III.
Menuetto 00:46:04 Symphony No. 19 in E-
Flat, K. 135: IV. Allegro 00:50:11 Symphony
No. 25 in G Minor, K. 183: I. Allegro con brio
01:01:15 Symphony No. 25 in G Minor, K.
184: II. Andante 01:07:23 Symphony No. 25 in
G, Minor, K. 185: III. Menuetto 01:10:45
Symphony No. 25 in G, Minor, K. 186: IV.
Allegro 01:18:04 Symphony No. 24 in B-Flat,
K. 182: I. Allegro spiritoso 01:22:21 Symphony
No. 24 in B-Flat, K. 182: II. Andantino
grazioso 01:25:01 Symphony No. 24 in B-Flat,
K. 182: III. Allegro 01:28:13 Symphony No. 26
in E-Flat, K. 184: I. Molto presto 01:31:30
Symphony No. 26 in E-Flat, K. 184: II.
Andante 01:34:36 Symphony No. 26 in E-Flat,
K. 184: III. Allegro 01:37:15 Symphony in D
K196: I. Allegro molto 01:39:52 Symphony in
D K196: II. Andantino grazioso 01:42:33
Symphony in D K196: III. Allegro 01:45:14
Symphony No. 29 in A, K. 201: I. Allegro
moderato 01:55:32 Symphony No. 29 in A, K.
201: II. Andante 02:05:51 Symphony No. 29 in
A, K. 201: III. Menuetto 02:09:00 Symphony
No. 29 in A, K. 201: IV. Allegro con spirito
02:16:22 Symphony No. 32 in G, K. 318: I.
Allegro spiritoso 02:19:32 Symphony No. 32 in
G, K. 318: II. Andante 02:22:14 Symphony
No. 32 in G, K. 318: III. Primo tempo 02:24:14
Symphony No. 33 in B-Flat, K. 319: I. Allegro
assai 02:31:36 Symphony No. 33 in B-Flat, K.
319: II. Andante moderato 02:36:13
Symphony No. 33 in B-Flat, K. 319: III.
Menuetto 02:38:53 Symphony No. 33 in B-
Flat, K. 319: IV. Allegro assai 02:48:19
9
Symphony No. 34 in C, K. 338: I. Allegro
vivace 02:55:51 Symphony No. 34 in C, K.
338: II Andante di molto più tosto allegretto
03:02:39 Symphony No. 34 in C, K. 338: III.
Allegro vivace 03:08:46 Symphony No. 35 in
D, K. 385 ‘Haffner’: I. Allegro con spirito
03:14:57 Symphony No. 35 in D, K. 385
‘Haffner’: II. Andante 03:20:53 Symphony No.
35 in D, K. 385 ‘Haffner’: III. Menuetto
03:23:57 Symphony No. 35 in D, K. 385
‘Haffner’: IV. Presto 03:28:13 Symphony No.
31 in D, K. 297 ‘Paris’: I. Allegro assai
03:36:43 Symphony No. 31 in D, K. 297
‘Paris’: II. Andante 03:42:25 Symphony No. 31
in D, K. 297 ‘Paris’: III. Allegro 03:46:34
Symphony No. 36 in C, K. 425 ‘Linz’: I. Adagio
– Allegro con spirito 03:57:16 Symphony No.
36 in C, K. 425 ‘Linz’: II. Andante 04:06:38
Symphony No. 36 in C, K. 425 ‘Linz’: III.
Menuetto 04:09:49 Symphony No. 36 in C, K.
425 ‘Linz’: IV. Presto 04:17:46 Symphony No.
40 in G Minor, K. 550 (Second version with
clarinets): I. Molto allegro 04:25:18 Symphony
No. 40 in G Minor, K. 550 (Second version
with clarinets): II. Andante 04:35:19
Symphony No. 40 in G Minor, K. 550 (Second
version with clarinets): III. Menuetto 04:39:0
Symphony No. 40 in G Minor, K. 550 (Second
version with clarinets): IV. Allegro assai
04:45:45 Symphony No. 39 in E-Flat, K. 543:
I. Adagio – Allegro 04:59:42 Symphony No. 39
in E-Flat, K. 543: II. Andante 05:11:18
Symphony No. 39 in E-Flat, K. 543: III. Presto
05:19:27 Symphony No. 38 in D, K. 504
‘Prague’: I. Adagio – Allegro 05:30:43
Symphony No. 38 in D, K. 504 ‘Prague’: II.
Andante con moto 05:38:45 Symphony No. 38
in D, K. 504 ‘Prague’: III. Menuetto 05:42:39
Symphony No. 38 in D, K. 504 ‘Prague’: IV.
Allegro 05:51:08 Symphony No. 40 in G
Minor, K. 550 (Second version with clarinets):
I. Molto allegro 05:58:36 Symphony No. 40 in
G Minor, K. 550 (Second version with
clarinets): II. Andante 06:08:30 Symphony No.
40 in G Minor, K. 550 (Second version with
clarinets): III. Menuetto 06:12:20 Symphony
No. 40 in G Minor, K. 550 (Second version
with clarinets): IV. Allegro assai 06:19:23
Symphony No. 41 in C, K. 551 ‘Jupiter’: I.
Allegro vivace 06:31:05 Symphony No. 41 in
C, K. 551 ‘Jupiter’: II. Andante cantabile
06:41:20 Symphony No. 41 in C, K. 551
‘Jupiter’: III. Menuetto 06:45:44 Symphony No.

41 in C, K. 551 ‘Jupiter’: IV. Molto allegro]
(Brilliant Classics)
ELEKTRA (Strauss, Richard)
[Klytämnestra .......... Gusta Hammer
Elektra ................ Erna Schlüter Chrysothemis
....... Annelies Kupper Aegisth ............ Peter
Markwort Orest ................. Robert Hager The
Tutor .......... Gustav Neidlinger The
Confidante ........ Elisabeth Schwier
Overseer ........... Claire Autenrieth The train-
bearer ........ Käthe Lange Young servant ......
Fritz Göllnitz Old servant ........ Hermann
Siegel Maids Maria von Ilosvay; Hedy Gura;
Martina Wulf; Lisa Bischof; Senta Mirtsch
Hamburg Staatsoper Eugen Jochum - June
1944]
THE GREAT AMERICAN SONGBOOK
(Marilyn Horne. Carl Davis) [American
Songbook : 1- Beautiful Dreamer (00:00)
Stephen Foster arr. Colin Mattews 2- Jeanis
with Light Brown Hair (3:36) Stephen Forster
arr. David Matthews,Harp : Osian Ellis 3- If
You've Only Got a Moustache (8:00) Stephen
Foster arr. David Cullen 4- Camptown Races
(11:05) Stephen Foster arr. David Cullen 5-
Sometimes I Feel like a Motherless Child
(13:24) Trad. Arr. Carl Davis 6- I've Just Come
from the Fountain (18:08) Trad. Arr. Carl
Davis 7- The Lord's Prayer (19:39) Alfred
Malotte arr. Carl Davis 8- Shenandoah (23:37)
Trad. Arr. Carl Davis 9- Billy Boy (26:48) Trad.
Arr. David Matthews 10- Go 'Way from my
Window (28:41) John Jacob Niles arr. David
Cullen Five Songs from "Old American Songs"
arr. Copland Simple Gifts (32:12) Ching-a-
ring-Chaw (34:00) Long Time Ago (35:37) I
Bought Me a Cat (38:57) At the River (41:16)
16- You're a Grand Old Flag (44:42) George
M.Cohan , arr. Carl Davis 17-When Johnny
Comes Marching Home (48:30) Trad. Arr.
David Matthews 18- God Bless America
(50:34) Irving Berlin arr. Carl Davis 19- I Didn't
Raise my Boy to be a Soldier (53:41)
Bryan/Piantadosi, arr. Carl Davis 20- Battle
Hymn of the Republic (56:06) Trad. Arr. Carl
Davis Singer : Marilyn Horne English
Chamber Orchestra Conductor : Carl Davis
Stéréo recording in 1985 Label : Decca]
(Classical Music/Reference Recording)
10
Beethoven, Ludwig van. THE COMPLETE
SYMPHONIES (Ludwig Van Beethoven
(1770-1827) - Complete Symphonies /
Overtures : New MASTERING of the
Lengendary recordings by Doctor Wilhelm
FURTWÄNGLER Symphony No.1 in C Major,
Op.21 / 1952, Vienna Adagio molto - Allegro
con brio (00:00) Andante cantabile con moto
(07:52) Menuetto (15:15) Adagio - Allegro
molto e vivace (19:11) Symphony No.2 in D
Major, Op.36 / 1948, London Adagio molto -
Allegro con brio (25:28) Largetto (35:40)
Scherzo - Allegro & Trio (46:53) Allegro molto
(50:58) Beethoven Symphony No.3 In E Flat,
Op. 55 ‘’Eroica’’ / 1952, Vienna Allegro Con
Brio (57:55) Marcia Funebre (1:14:03)
Scherzo (1:31:24) Finale - Allegro Molto
(1:37:57) Symphony No.4 in B Flat Major,
Op.60 / 1952, Vienna Adagio - Allegro Vivace
(1:50:13) Adagio (2:00:47) Menuetto - Allegro
Vivace Trio_Un Poco Meno Allegro (2:12:34)
Allegro Ma Non Troppo (2:18:34) Symphony
No.5 In C Minor, Op. 67 / 1954, Vienna
Allegro Con Brio (2:26:07) Andante Con Moto
(2:34:42) Allegro (2:46:03) (Finale) Allegro
(2:52:06) Symphony no.6 in F major op.68
‘’Pastoral'' » / 1952, Vienna (Live) 1.Allegro
ma non troppo (3:01:50) Awakening of
cheerful feelings upon arriving in the country
Eveil des sentiments joyeux en arrivant à la
campagne 2.Andante molto mosso (3:13:42)
By the brook Au bord du ruisseau 3.Allegro
(3:27:09) Merry gathering of country folk
Joyeuse réunion de paysans 4.Allegro
(3:37:07) Thunderstorm L’orage et le
Tonnerre 5.Allegretto (3:37:15) Shepherd’s
song. Happy and thankful feelings after the
storm Chant pastoral. Sentiments de bonheur
et de reconnaissance après l’orage Symphony
no.7 in A major, op.92 / 1950, Vienna Poco
sostenuto - Vivace (3:46:38) Allegretto
(3:59:36) Presto (4:09:54) Allegro con brio
(4:18:35) Symphony No.8 in F-Dur, Op.93 /
1948, Stockholm (live) Allegro Vivace E Con
Brio (4:25:34) Allegretto Scherzando (4:33:27)
Tempo Di Menuetto (4:38:02) Allegro Vivace
(4:43:54) ‘’Fidelio’’ Overture, Op.62 / 1953,
Vienna (4:51:30) ‘’Leonore’’ Overture n°3,
Op.72a / 1953, Vienna (4:58:05) ‘’Coriolan
Overture, Op.62 / 1947, Vienna (5:13:15)
‘’Leonore’’ Overture n°2, Op.72 / 1954, Berlin
(5:21:50) Symphony No.9 in D minor,
Op.125 / 1951, Bayreuth (Live) Allegro ma

non troppo, un poco maestoso (5:37:44) Molto
vivace (5:55:34) Adagio molto e cantabile
(6:07:37) Presto - « O Freunde, nicht diese
Töne » - Allegro assai (6:27:14) ; (6:34:12)
Vienna Philharmonic Orchestra Berlin
Philharmonic Orchestra Stockholm
Philharmonic Orchestra Bayreuth Festival
Chorus and Orchestra Soprano : Elisabeth
Schwarzkopf Contralto : Elisabeth Höngen
Tenor : Hans Hopf Bass : Otto Edelmann
Wilhelm FURTWÄNGLER Mono recordings :
New mastering in 2017 by AB Label :
EMI/WARNER (Japanese edition) [Reference
Recording]
DIE WALKURE (Wagner, Richard)
[Brünnhilde : Martha Mödl Sieglinde : Leonie
Rysanek Wotan : Ferdinand Frantz
Siegmund : Ludwig Suthaus Fricka :
Margarete Klose Hunding : Gottlob Frick
Wiener Philharmoniker Wilhelm
FURTWÄNGLER Mono recording in 1954, at
Vienna New mastering in 2017 by AB Label :
EMI / WMG] (Reference Recording)
Beethoven, Ludwig van. OVERTURES,
SYMPHONIES 5, 8, 1, 3, 6 & 9. Overture
_Coriolan_, Op. 62 (00:00) Overture
_Fidelio_, Op. 72b (08:08) Overture _Leonore
#3 Overture, Op. 72a (14:55) Overture
_Egmont_, Op. 84 (28:35) Overture _Die
Weihe des Hauses_, Op. 124 (37:47) Sinfonie
Nr.5 C-Moll, Op.67 Allegro Con Brio (49:24)
Andante Con Moto (56:59) Scherzo. Allegro
(1:06:36) Allegro (1:11:53) Sinfonie Nr.8 F-
Dur, Op.93 Allegro Vivace E Con Brio
(1:20:20) Aleegretto Scherzando (1:29:51)
Tempo Di Menuetto (1:33:33) Allegro Vivace
(1:37:53) Symphony No. 1 in C major, Op.21
Adagio molto - Allegro con brio (1:45:24)
Andante cantabile con moto (1:54:29)
Menuetto_ Allegro molto e vivace (2:00:02)
Adagio - Allegro molto e vivace (2:03:26)
Symphony #3 In E Flat Major, Op. 55 ‘’Eroica’’
** Allegro Con Brio (2:09:37) Marcia Funebre_
Adagio Assai (2:24:17) Scherzo_ Allegro
Vivace (2:39:53) Finale_ Allegro Molto
(2:45:21) Symphony no.6 in F major op.68 «
Pastoral » 1.Allegro ma non troppo (2:57:02)
Awakening of cheerful feelings upon arriving
in the country Eveil des sentiments joyeux en
arrivant à la campagne 2.Andante molto
mosso (3:08:44) By the brook Au bord du
11
ruisseau 3.Allegro (3:20:32) Merry gathering
of country folk Joyeuse réunion de paysans
4.Allegro (3:25:55) Thunderstorm L’orage et le
Tonnerre 5.Allegretto (3:29:48) Shepherd’s
song. Happy and thankful feelings after the
storm Chant pastoral. Sentiments de bonheur
et de reconnaissance après l’orage Orchestre
Lamoureux **Symphony of the Air Igor
MARKEVITCH Mono and Stéréo recordings in
1956-61 Remastering in 2017 by AB Label :
Deutsche Grammophon & Philips (Japanese
edition) [Reference Recording]
Beethoven, Ludwig van. SYMPHONY No. 9 in D
minor, op. 125 (Choral) [1.Allegro ma non troppo,
un poco maestoso (00:00) 2.Molto vivace
(16:45) 3.Adagio molto e cantabile (27:20)
4.Presto - « O Freunde, nicht diese Töne » -
Allegro assai (45:20 ; 51:35) Sopran : Irmgard
Seefried Alt/Contralto : Maureen Forrester,
Ernst Haefliger Tenor : Dietrich Fischer-
Dieskau Chor der St. Hedwigs-Kathedrale
Berliner Philharmoniker Ferenc Fricsay Stéréo
recording in 1958 Dokumente : Deutsche
Grammophon] (Reference Recording)
Beethoven, Ludwig van. SYMPHONY No. 3 in
Eb major, op. 55 (Eroica) [1.Allegro con brio
(00:00) 2.Marcia funebre (adagio assai) 14:50
3.Scherzo (allegro vivace) 30:20 4.Finale
(allegro molto) 35:56 Concertgebouw
Orchestra, Amsterdam Pierre Monteux Stéréo
recording in 1962 Label : Philips Although the
two first Symphonies are still under the
Haydnian style, ‘’the new way’’ advocated by
Beethoven starts with the ‘Eroica’ Symphony
(1803-04), which was written to celebrate the
French Revolution, Beethoven wished to pay
a tribute to its glory through Bonaparte, the
triumphant leader of obscurantism and
tyranny. He even thought that he shared a
common destiny with him, his coronation
broke the composer’s hope, who decided to
change the original title. Then the ‘’Bonaparte
Symphony’’ became the ‘’Heroic Symphony
composed to celebrate the memory of a great
man’’. The Romantics interpreted the Hero as
a man who lives a conflict with his
environment because of his destiny. The initial
Allegro, an imposing development of a
musical unit based on a major triad, is a
typical case of the Beethovenian musical
technic? Dramatic and moving, the Marcia

funebre is an emotive plea for pacifism.
According to Igor Markevich, the final
Variations are ‘’to the Marcia funèbre what
resurrection is to death’’. Jean-Jacques Velly]
(Reference Recording)
Beethoven, Ludwig van. SYMPHONY No. 7 in
A major, op. 92 (1.Poco sostenuto - Vivace
(00:00) 2.Allegretto (11:27) 3.Presto (19:35)
4.Allegro con brio (28:02) Bayerisches
Staatsorchester (Orchestre d’Etat de Bavière)
Carlos Kleiber Live performance in 1982 Label
: Orfeo Since they were premiered,
Beethoven’s Symphonies became absolute
models for the next generations of musicians.
With these symphonies Beethoven conceived
the symphonic genre as an expressive one.
For him, the search of expression was any
longer a dramatic aim, but a creative principle.
Each symphony conveys a step in the
development of his thought and expresses a
new solution given to structural problems.
With the Seventh Symphony (1811-12)
Beethoven does not keep any sign of poetic
description. He enlarges the formal structures
of this work thanks to his powerful new ideas
and his rhythmic vitality. After a long
introduction, the spirited Vivace is built on
continuous dotted notes. In the Allegretto
Variations, the steady beat of a dactylic
rhythm seems to be obsessional. Vital energy
and vigour characterize the two last
movements of this symphony which was once
described it as ‘’one of his most important
works’’. Its different movements are built on a
very quiet atmosphere which reflets the
happiness of the composer at this time. Based
on a rhythmical canon, the second movement
imitates the ticking of the metronome. Jean-
Jacques Velly) [Reference Recording]
Dvorak, Antonin. CELLO CONCERTO in B minor,
op. 104 (1-Allegro (00:00) 2-Adagio ma non
troppo (14:50) 3-Finale Allegro moderato
(26:25) Cello/Violoncelle : Pierre Fournier
Conductor : George Szell Berliner
Philharmoniker Stéréo recording in 1962
Label : Deutsche Grammophon (Japanese
edition) [Reference Recording]
Bach, Johann Sebastian. CELLO SUITES 1, 4
& 5 (Cello Suite n°1 in G major BWV 1007
Suite pour Violoncelle en sol majeur BWV
12
1007 1-Prélude (00:00) 2-Allemande (2:25) 3-
Courante (6:45) 4-Sarabande (9:22) 5-Menuet
I (12:31) 6-Menuet II (13:51) 7-Gigue (16:00)
Cello Suite n°4 in E flat major BWV 1010
Suite pour Violoncelle n°4 en mi bémol majeur
BWV 1010 8-Preludium (18:04) 9-Allemande
(23:58) 10-Courante (27:56) 11-Sarabande
(31:22) 12-Bourée I (36:24) 13-Bourée II
(39:17) 14-Gigue (41:25) Cello Suite n°5 in C
minor BWV 1011 Suite pour Violoncelle n°5
en ut mineur BWV 1011 15-Prélude (44:13)
16-Allemande (51:55) 17-Courante (59:05)
18-Sarabande (1:01:20) 19-Gavotte I
(1:04:37) 20-Gavotte II (1:06:52) 21-Gigue
(1:09:13) Cello : Paul Tortelier Stéréo
Recording in 1983 Label : EMI) [Reference
Recording]
Bach, Johann Sebastian. CELLO SUITES 2, 3
& 6 (Cello Suite n°2 in D minor BWV 1008
Suite pour Violoncelle en ré mineur BWV
1008 1-Prélude (00:00) 2-Allemande (4:00) 3-
Courante (7:55) 4-Sarabande (10:01) 5-
Menuet I (14:51) 6-Menuet II (16:11) 7-Gigue
(18:11) Cello Suite n°3 in C major BWV 1009
Suite pour Violoncelle n°3 en ut majeur BWV
1009 8-Preludium (21:02) 9-Allemande
(24:31) 10-Courante (28:22) 11-Sarabande
(31:24) 12-Bourée I (36:47) 13-Bourée II
(38:27) 14-Gigue (40:54) Cello Suite n°6 in D
major BWV 1012 Suite pour Violoncelle n°6
en ré majeur BWV 1012 15-Prélude (44:16)
16-Allemande (49:59) 17-Courante (56:29)
18-Sarabande (59:58) 19-Gavotte I (1:05:32)
20-Gavotte II (1:07:12) 21-Gigue (1:09:26)
Cello : Paul Tortelier Stéréo Recording in
1983 Label : EMI) [Reference Recording]
Chopin, Frederic. THE 21 NOCTURNES
(Frédéric François Chopin (1810-1849) - Les
21 Nocturnes Op.9, 15, 27 ,32, 37, 48, 55, 62,
72 & Posth. n°1 in B flat minor * b-moll * en si
bémol, Op.9/1 (00:00) n°2 in E flat * Es-dur *
en Mi bémol, Op.9/2 (5:50) n°3 in B * H-dur *
en Si Op.9/3 (10:30) n°4 in F * F-dur * en Fa,
Op.15/1 (17:49) n°5 in F sharp * Fis-dur * en
Fa dièse, Op.15/2 (22:55) n°6 in G minor * g-
moll * en sol, Op. 15/3 (26:44) n°7 in C sharp
minor * cis-moll * en ut dièse, Op.27/1 (31:28)
n°8 in D flat * Des-dur * en Ré bémol, Op.27/2
(36:57) n°9 in B * H-dur * en Si, Op.32/1
(43:18) n°10 in A flat * As-dur * en La bémol,
Op.32/2 (49:00) n°11 in G minor * g-moll * en

Sol, Op.37/1 (54:21) n°12 in G * G-dur * en
Sol, Op.37/2 (1:00:39) n°13 in C minor * c-
moll * en ut, Op.48/1 (1:08:45) n°14 in F sharp
minor * fis-moll * en fa dièse, Op. 48/2
(1:15:07) n°15 in F minor * f-moll * en fa, Op.
55/1 (1:22:58) n°16 in E flat * Es-dur * en Mi
bémol, Op.55/2 (1:28:43) n°17 in B * H-dur *
en S, Op.62/1 (1:34:15) n°18 in E * E-dur * en
Min Op.62/2 (1:42:00) n°19 in E minor * e-moll
* en mi, OP.72/1 (1:49:15) n°20 in C sharp
minor * cis-moll * en ut dièse, Op.posth.
(1:53:30) n°21 in C minor * c-moll * en ut,
Op.posth. (1:58:00) Piano : Claudio Arrau
Stéréo recording in 1977-78 Label : Philips)
[Reference Recording]
Dvorak, Antonin. SYMPHONY No. 9, op. 95
(From the New World) [1- Adagio _ Allegro
molto (00:00) 2- Largo (10:05) 3- Molto Vivace
(24:02) 4- Allegro con fuoco (32:18) Berliner
Philharmoniker Ferenc Fricsay Stéréo
recording in 1959 Dokumente Deutsche
Grammophon] (Reference Recording)
Chopin, Frederic. 19 NOCTURNES (n°1 in B
flat minor * b-moll * en si bémol, Op.9/1
(00:00) n°2 in E flat * Es-dur * en Mi bémol,
Op.9/2 (5:14) n°3 in B * H-dur * en Si Op.9/3
(9:30) n°4 in F * F-dur * en Fa, Op.15/1
(15:48) n°5 in F sharp * Fis-dur * en Fa dièse,
Op.15/2 (19:38) n°6 in G minor * g-moll * en
sol, Op. 15/3 (23:11) n°7 in C sharp minor *
cis-moll * en ut dièse, Op.27/1 (27:13) n°8 in
D flat * Des-dur * en Ré bémol, Op.27/2
(32:09) n°9 in B * H-dur * en Si, Op.32/1
(37:41) n°10 in A flat * As-dur * en La bémol,
Op.32/2 (41:42) n°11 in G minor * g-moll * en
Sol, Op.37/1 (46:36) n°12 in G * G-dur * en
Sol, Op.37/2 (51:31) n°13 in C minor * c-moll *
en ut, Op.48/1 (56:52) n°14 in F sharp minor *
fis-moll * en fa dièse, Op. 48/2 (1:03:23) n°15
in F minor * f-moll * en fa, Op. 55/1 (1:09:40)
n°16 in E flat * Es-dur * en Mi bémol, Op.55/2
(1:14:02) n°17 in B * H-dur * en S, Op.62/1
(1:18:01) n°18 in E * E-dur * en Min Op.62/2
(1:23:49) n°19 in E minor * e-moll * en mi,
OP.72/1 (1:29:07) Piano : Samson François
Stéréo recording in 1966 Label : EMI)
[Reference Recording]
Berlioz, Hector. SYMPHONIE
FANTASTIQUE, op. 14 (1- Rêveries - Passion
(00:00) Largo; Allegro agiato e appassionato
13
assai 2- Un bal (13:44) Valse: Allegro non
troppo 3-Scène aux champs (20:14) Adagio 4-
Marche au supplice (35:07) Allegretto non
troppo 5-Songe d’une nuit de Sabbat (40:16)
Larghetto; Allegro; Ronde du Sabbat New
York Philharmonic Dimitri Mitropoulos Stéréo
recording in 1957 Label : CBS) [Reference
Recording]
Bach, Johann Sebastian. FAMOUS ORGAN
WORKS (1-Toccata and Fugue in D Minor,
BWV 565 Toccata (00:00) Fugue (3:04) 2-
Toccata and Fugue in D minor, BWV 538 «
Dorian » Prelude - toccata (10:35) Fuga
(16:04) 3-Passacaglia in C minor, BWV 582
Passacaglia (24:02) Fugue (32:46) 4-Prélude
(Fantasy) and Fugue in G Minor, BWV 542
Fantasy (39:01) Fugue (46:22) 5-Toccata
(Prelude) and Fugue in F major, BWV 540
Toccata (53:12) Fugue (1:02:07) Organ :
Wolfgang Stockmeier Stéréo recording in
1977,1981 Label : Art & Music) [Reference
Recording]
Vivaldi, Antonio. THE FOUR SEASONS
(Concerto No.1 « La Primavera » RV 269 - in
E - en mi majeur (Spring, Der Frühling, Le
Printemps) 1- Allegro (00:00) 2- Largo (3:32)
3- Allegro - Danza pastorale (6:28) Concerto
No.2 « L’Estate » RV 315 - in G minor - en sol
mineur (Summer, Der Sommer, L’Eté) 4-
Allegro non molto - Allegro (10:54) 5- Adagio -
Presto - Adagio (15:53) 6- Presto - Tempo
impetuoso d’estate (18:15) Concerto No.3 «
L’Autunno » RV 293 in F - en fa majeur
(Autumn, Der Herbst, L’automne) 7- Allegro -
Ballo, e canto de’ villanelli (21:03) 8- Adagio
molto - Ubriachi dormienti (26:35) 9- Allegro -
La caccia (29:49) Concerto No.4 « L’inverno »
RV 297 - in F minor - en fa mineur (Winter,
Der Winter, L’hiver) 10- Allegro non molto
(33:19) 11- Largo (36:43) 12- Allegro (39:19) I
Musici Violin : Pina Carmirelli Stéréo
Recording in 1982 Label : Philips) [Reference
Recording]
Mendelssohn, Felix. VIOLIN CONCERTO in E
minor, op. 64 (1- Allegro molto appassionato
(00:00) 2- Andante (11:28) 3- allegretto non
troppo - Allegro molto vivace (19:12) Violin :
Nathan Milstein Conductor : Leon Barzin
Philharmonia Orchestra Stéréo recording in
1960) [Reference Recording]

Brahms, Johannes. 16 HUNGARIAN
DANCES (1- Hungarian Dance No.5 In G
Minor (00:00) 2- Hungarian Dance No.6 In D
Flat - Orchestrated By A. Parlow (2:07) 3-
Hungarian Dance No.7 In A - Orchestrated By
A. Hallé (4:51) 4- Hungarian Dance No.21 In
E Minor - Orchestrated By A. Dvorák (6:46) 5-
Hungarian Dance No.11 In D Minor -
Orchestrated By Albert Parlow (8:10) 6-
Hungarian Dance No.2 In D Minor -
Orchestrated By Johan Andreas Hallén
(11:34) 7- Hungarian Dance No.1 In G Minor -
Orchestrated By Brahms (14:19) 8- Hungarian
Dance No.10 In F - Orchestrated By Brahms
(16:58) 9- Hungarian Dance No.3 In F -
Orchestrated By Brahms (18:44) 10-
Hungarian Dance No.18 In D - Orchestrated
By A. Dvorák (20:54) 11- Hungarian Dance
No.17 In F Sharp Minor - Orchestrated By A.
Dvorák (22:17) 12- Hungarian Dance No.19 In
B Minor - Orchestrated By A. Dvorák (24:50)
13- Hungarian Dance No.20 In E Minor -
Orchestrated By A. Dvorák (26:51) 14-
Hungarian Dance No.12 In D Minor -
Orchestrated By Albert Parlow (29:10) 15-
Hungarian Dance No.15 In B Flat -
Orchestrated By Albert Parlow (31:18) 16-
Hungarian Dance No.4 In F Sharp Minor -
Orchestrated By A. Hallén (34:04) London
Symphony Orchestra Antal Dorati Stéréo
recording in 1957,1965 Mercury Living
Présence) [Reference Recording]
Ravel, Maurice. DAPHNIS ET CHLOE,
PAVANE POUR UNE INFANTE DEFUNTE
(Daphnis et Chloé Part One 1- Introduction et
Danse religieuse (00:00) 2- Scène - Danse
générale (7:18) 3- Scène - Danse grotesque
de Dorcon (10:01) 4- Danse légère et
gracieux de Daphnis (12:19) 5- Scène -
Danse de Lyceion - Scène (14:42) 6-
Nocturne - Danse lente et mystérieuse (19:20)
Part Two 7- Introduction (23:59) 8- Danse
guerrière (26:53) 9- Danse suppliante de
Chloé (31:00) Part Three 10- Lever du jour
(36:13) 11- Pantomime (41:25) 12- Danse
générale (46:54) 13- Pavane pour une infante
défunte (51:55) London Symphony Orchestra
Chorus of the Royal Opera House Pierre
Monteux Stéréo recording in 1959, 1961 Label
: Decca (Historic) [Reference Recording]
14
Chopin, Frederic. WALTZES, ETC. (Waltz #1
In E Flat, Op. 18, « Grande Valse Brillante »
(00:00) Waltz #2 In A Flat, Op. 34/1, « Valse
Brillante » (4:38) Waltz #3 In A Minor, Op.
34/2, « Grand Valse Brillante » (9:13) Waltz
#4 In F, Op. 34/3, « Valse Brillante » (14:04)
Waltz #5 In A Flat, Op. 42, « Two Four »
(16:17) Waltz #6 In D Flat, Op. 64/1, « Minute
» (20:00) Waltz #7 In C Sharp Minor, Op. 64/2
(21:46) Waltz #8 In A Flat, Op. 64/3 (24:54)
Waltz #9 In A Flat, Op. 69/1, « L’Adieu »
(27:50) Waltz #10 In B Minor, Op. 69/2 (32:18)
Waltz #11 In G Flat, Op. 70/1 (35:52) Waltz
#12 In F Minor, Op. 70/2 (37:48) Waltz #13 In
D Flat, Op. 70/3 (40:33) Waltz #14 In E Minor,
CT 222 (43:07) Barcarolle In F Sharp, Op. 60,
B 158 (45:52) Nocturne #8 In D Flat, Op. 27/2,
CT 115 (54:23) Mazurka #32 In C Sharp
Minor, Op. 50/3, CT 82 (1:00:14) Piano : Dinu
Lipatti Mono recording in 1950, 1948 & 1947
Label : EMI Angel (Japanese Edition)
[Reference Recording]
Brahms, Johannes. SYMPHONY No. 1 in C
minor, op. 68 (1-Un poco sostenuto - allegro
(00:00) 2-Andante sostenuto (14:56) 3-Un
poco allegretto e grazioso (25:03) 4-Adagio,
più andante - allegro non troppo ma con brio,
più allegro (30:18) Sinfonieorchester des
Norddeutschen Rundfunks Wilhelm
Furtwängler Live performance in 1951
(Hamburg) Label : Tahra Diapason d’Or du
Siècle Wilhelm Furtwängler conducted all
symphonic, concertante and choral works of
Brahms. In his book about Furtwängler
(1941), Friedrich Herzfeld lists Furtwängler's
performances of Brahms. In fact, by that time,
Furt had already conducted 519 times a
Brahmsian work with the First symphony at
the first place with 117 performances. Eleven
recordings of the First symphony have
survived. Hambourg recording, according to
many, this is Furtwängler's most fantastic
performance of this symphony. The maximum
is attained everywhere, in the recording by the
sound engineer Friedrich Schnapp, in the
orchestra, in the conductor's inspiration and
never again are to be found fortissimi as
these.This archive crystallizes the
unforgettable genius at his full maturity.)
[Reference Recording]

GERARD SOUZAY. MELODIES
FRANCAISES (Reynaldo Hahn (1875-1947)
1- L’heure exquise / Paul Verlaine (00:00)
Charles Gounod (1818-1893) 2- Sérénade /
Victor Hugo (2:37) Henri Duparc (1848-1933)
3- Soupir / Sully Prudhomme (6:37) Gabriel
Fauré (1845-1924) 4- Chanson du pêcheur /
Théophile Gautier (10:18) Francis Poulenc
(1899-1963) 5- Calligrammes / Guillaume
Apollinaire III. Vers le Sud (14:02) Gabriel
Fauré 6- Les berceaux, op. 23 n° 1 / Sully
Prudhomme (15:51) 7- Cinq mélodies de
Venise, op. 58 / Paul Verlaine II. En sourdine
(18:44) 8- Poème d’un jour, op. 21 / Charles
Grandmougin III. Adieu (22:02) 9- Cinq
mélodies de Venise, op. 58 / Paul Verlaine I.
Mandoline (24:21) Henri Duparc 11- Chanson
triste / Jean Lahor (27:50) Charles Gounod
12- L’absent (31:08) Gabriel Fauré 13- Soir,
op. 83 n° 2 / Albert Samain (35:02) 14- Le
secret, op. 23 n° 3 / Armand Silvestre (37:34)
15- Prison, op. 83 n° 1 / Paul Verlaine (39:57)
16- Le don silencieux, op. 95 / Jean
Dominique (42:27) 17- Cinq mélodies de
Venise, op. 58 / Paul Verlaine III. Green
(44:37) 18- Cinq mélodies de Venise, op. 58 /
Paul Verlaine V. C’est l’extase (46:36) 19-
Arpège, op. 76 n° 2 / Albert Samain (49:30)
20- La bonne chanson, op. 61 / Paul Verlaine
IX. L’hiver a cessé (51:42) Maurice Ravel 21-
Cinq mélodies populaires grecques /
traduction M.D. Calvocoressi IV. Chanson des
cueuilleuses de lentisques (54:30) Gabriel
Fauré 22- Le jardin clos, op. 106 / Charles van
Lerberghe IV. Je me poserai sur ton cœur
(57:09) 23- Mirages, op. 113 / Baronne de
Brimont I. Cygne sur l’eau (58:50) 24-
Mirages, op. 113 / Baronne de Brimont II.
Reflets dans l’eau (1:02:18) 25- Mirages, op.
113 / Baronne de Brimont III. Jardin nocturne
(1:06:46) 26- Dans la forêt de septembre, op.
85 n° 1 / Catulle Mendès (1:09:49) Henri
Duparc 27- Phidylé / Charles Leconte de Lisle
(1:13:07) Gabriel Fauré 28- L’horizon
chimérique, op. 118 / Jean de la Ville de
Mirmont III. Diane, Séléné (1:18:38) 29- Le
parfum impérissable, op. 76 n° 1 / Leconte de
Lisle (1:20:40) 30- La chanson d’Eve, op. 95 /
Charles van Lerberghe X. Ô mort, poussière
d’étoiles (1:23:27) Piano : Dalton Baldwin
Baryton : Gérard Souzay Stéréo recording in
1960-63-65-67-68 Label : Philips) [Reference
Recording]
15
Liszt, Franz. PIANO WORKS (Liebesträume -
3 nocturnes 1- Hohe Liebe (00:00) 2- Seliger
Tod (06:14) 3- O Lieb (10:58) Trois Études de
concert 1- Lamento (15:51) 2- La leggerezza
(26:16) 3- Un Sospiro (31:16) Consolations 1-
Andante con moto (36:50) 2- Un poco più
mosso (38:18) 3- Lento placido (41:37) 4-
Quasi adagio (45:26) 5- Andantino (48:38) 6-
Allegretto sempre cantabile (51:33) Zwei
Konzertetüden 1- Waldesrauschen (55:00) 2-
Gnomenreigen (59:00) La Campanella
(1:02:10) Grand Galop chromatique (1:07:16)
Bénédiction de Dieu dans la solitude - No.3 of
Harmonies poétiques et religieuses (1:11:47)
Piano : Jorge Bolet Stéréo recording in :
1979,1983 and 1986 Label : Decca)
[Reference Recording]
IL TROVATORE (Highlights) [Verdi,
Giuseppe] (Franco Bonisolli--Manrico Raina
Kabaivanska--Leonora Viorica Cortez--
Azucena Giorgio Zancanaro--Conte Bruno
Bartoletti--conductor Chor der Staatsoper
Berlin Staatskapelle Berlin 1975)
[liederoperagreats]
LA TRAVIATA (Highlights) [Franco Bonisolli--
Alfredo Mirella Freni--Violetta Sesto
Bruscantini--Germont Gudrun Schäfer--
Annina Lamberto Gardelli--conductor
Staatskapelle Berlin 1973] (liederoperagreats)
LA FORZA DEL DESTINO (Verdi, Giuseppe)
[Renata Tebaldi, soprano (Leonora), Franco
Corelli, tenor (Don Alvaro), Ettore Bastianini,
baritone (Don Carlo), Boris Christoff, bass
(Padre Guardiano), Oralia Dominguez,
mezzo-soprano (Preziosilla), Renato
Capecchi, baritone (Fra Melitone), Chorus and
Orchestra of the Teatro San Carlo, Naples/
Francesco Molinari-Pradelli, cond. Hardy
Classic Video HCD 4002 (1 DVD). F (ADD?)
TT: 2:40:00 This performance of Verdi's La
forza del destino from the Teatro San Carlo in
Naples has long been available both on audio
disc and videotape. Even if you own a
previous version of this legendary 1958 Forza,
you will want to acquire this DVD release
issued by Hardy Classic Video. Previously I
viewed this performance on a VHS tape,
released by Legato Classics obviously taken

from a source that was generations removed
from the original. The sound quality of the
VHS was fine, but the picture lacked definition
and contrast, to the point that at times
existence of the singers and stage action had
to be taken on faith (I have not seen the video
of the same Forza broadcast, issued by Bel
Canto Society). Hardy Classical Video bills its
DVD release as "the only authorized re-
recording made directly from RAI's original
master copy." It represents a quantum leap
forward. The monophonic sound is excellent.
While quality of the black-and-white picture
certainly cannot compare with that obtained
by modern technology, it does finally allow full
appreciation of visual elements of this grand
performance. If you are able to enjoy vintage
television programs from the 1950's, you will
have no difficulty with the picture quality
preserved on the DVD release. And the visual
component of this performance adds a great
deal. Renata Tebaldi and Franco Corelli are
visually stunning as Leonora and Alvaro.
Indeed, their movie star looks and graceful
stage comportment might almost be sufficient
to carry the day. But Tebaldi and Corelli also
sing with extraordinary security, beauty of
tone, dynamic variety, and dramatic
commitment. Indeed, their performances of
these extraordinarily demanding roles are
among the finest preserved on disc. Likewise,
Ettore Bastianini is a handsome and virile
Carlo, both in voice and appearance. As
Padre Guardiano, Boris Christoff is somewhat
hampered by a wig and beard that look as if
they had been assembled from leftover cotton
balls. As always with this unique artist,
Christoff sings with compelling tone and acts
with tremendous conviction. He and Tebaldi
join forces for an extremely compelling
Monastery Scene. Renato Capecchi, a great
singing actor, is a masterful Fra Melitone.
Oralia Dominguez provides a spirited and
vocally assured Preziosilla. Francesco
Molinari-Pradelli leads a vibrant account that
crackles from the very first notes of the
Overture. Unfortunately, the Alvaro-Carlo
"Sleale!" duet is omitted, a particular shame
given the sterling vocal estates of Corelli and
Bastianini on this occasion. The San Carlo
sets often look as if they could be toppled by a
hearty breeze, but I doubt that will cause
16
anyone much distress, given the vocal feast
that is presented here.] (Video)
SIMON BOCCANEGRA (Verdi, Giuseppe)
[Piero Cappuccilli, Mirella Freni, Veriano
Luchetti, Nicolai Ghiaurov. Claudio Abbado.
La Scala. 1978] (In 2 parts)
RIGOLETTO (Verdi, Giuseppe) [Rigoletto -
Renato Bruson Gilda - Andrea Rost Duca di
Mantova - Roberto Alagna Sparafucile -
Dimitri Kavrakos Maddalena - Mariana
Pentcheva Giovanna - Antonella Trevisan
Monterone - Giorgio Giuseppini Marullo -
Silvestro Sammaritano Borsa - Ernesto
Gavazzi Conte di Ceprano - Antonio de Gobbi
Contessa di Ceprano - Nicoletta Zanini
Conductor - Riccardo Muti Orchestra - Teatro
alla Scala Chorus - Teatro alla Scala Un
paggio - Marilena Laurenza] (Video)
RIGOLETTO (Verdi, Giuseppe) [Conductor:
Chailly, Riccardo Orchestra: Vienna
Philharmonic Orchestra Chorus: Vienna State
Opera Chorus Chorus Master: Balatsch,
Norbert Borsa: Corazza, Remi Ceprano:
Bracht, Roland Countess Ceprano: Kuhlmann,
Kathleen Duke of Mantua: Pavarotti, Luciano
Gilda: Gruberova, Edita Giovanna: Barbieri,
Fedora Maddalena: Vergara, Victoria Marullo:
Otey, Louis Marullo: Weikl, Bernd Monterone:
Wixell, Ingvar Rigoletto: Wixell, Ingvar
Sparafucile: Furlanetto, Ferruccio] (Video)
GUGLIELMO TELL (William Tell) [Rossini,
Gioachino] (Orcorpo di ball del Teatro Alla
Scala Maestro del coro: Giulio Bertola
Direttore d'orchestra: Riccardo Muti Regia:
Luca Ronconi Ballerini solisti: Carla Fracci,
Alessandro Molin Scene: Gianni Quaranta
Costumi: Vera Marzot Luci: Vannio Vanni
Arnoldo: Chris Merritt Edwige: Luciana
D'Intino Gessler: Luigi Roni Gualtiero: Giorgio
Surjan Guglielmo Tell: Giorgio Zancanaro
Jemmy: Amelia Felle Matilde: Cheryl Studer
Melchthal: Franco de Grandis Rodolfo:
Ernesto Gavazzi) [Video]
DON CARLO (Verdi, Giuseppe) [Filippo II:
Samuel Ramey, Don Carlo: Luciano Pavarotti,
Rodrigo: Paolo Coni, Il Grande Inquisitore:

Alexander Anisimov, Un frate: Andrea
Silvestrelli, Elisabetta di Valois: Daniela Dessi,
La Principessa Eboli: Luciana d’Intino,
Tebaldo: Marilena Laurenza, Una Voce dal
Cielo: Nuccia Focile, Il Conte di Lerma: Orfeo
Zanetti, Un Araldo reale: Mario Bolognes. La
Scala. Riccardo Muti]
DON GIOVANNI (Mozart, WA) [Teatro alla
Scala, 1987 Direttore d'orchestra: Riccardo
Muti Regia: Giorgio Strehler Don Giovanni:
Thomas Allen Il Commendatore: Sergej
Koptchak Donna Anna: Edita Gruberova Don
Ottavio: Francisco Araiza Donna Elvira: Ann
Murray Leporello: Claudio Desderi Masetto:
Natale De Carolis Zerlina: Susanne Mentzer]
(Video)
FEDORA (Giordano, Umberto) [Pia Tassinari -
Fedora Romazoff Mafalda Micheluzzi - Olga
Sukarev Ferruccio Tagliavini - Loris Ipanov
Saturno Meletti - Giovanni de Siriex Coro e
Orchestra Sinfonica de Milano della RAI
Oliviero de Fabritiis; (live 10. Juli 1954]
(Audio)
DIE FLEDERMAUS (Strauss II, Johann)
[Gabriel von Eisenstein: Bernd Weikl,
Rosalinde: Lucia Popp, Frank: Erich Kunz,
Prinz Orlofsky: Brigitte Fassbaender, Alfred:
Josef Hopferwieser, Dr. Falke: Walter Berry,
Dr. Blind: Anton Wendler, Adele: Edita
Gruberova, Ida: Karin Gottling, Frosch:
Helmut Lohner, Iwan: Karl Caslavsky,
Orchester Wiener Staatsoper. Theodor
Guschlbauer.]
DIE FLEDERMAUS (Strauss II, Johann)
[Rosalinde: Kiri Te Kanawa, Adele: Hildegarde
Heichele, Eisenstein: Hermann Prey, Prince
Orlofsky: Doris Soffel, Frank: Michael
Langdon, Alfred: Dennis O’Neil, Dr. Blind:
Paul Crook, Dr. Falke: Benjamin Luxon, Ida:
Ingrid Baier, Ivan: Richard Hazell, Frosch:
Josef Meinrad. Covent Garden. Placido
Domingo. 1983]
BEVERLY SILLS GALA (Beverly Sills
recreates her role of Rosalinda in this 1981
comic version of the second act of "Die
Fledermaus," with Kitty Carlisle as Prince
Orlovsky, Gianna Rolandi as Adele, Alan Titus
as Eisenstein, and a surprise appearance by
17
Carol Burnett, singing Jerry Herman's "It's
Today".)
DIE FLEDERMAUS (Strauss II, Johann) [The
1977 Royal Opera House production
conducted by Zubin Mehta. CAST; Adele -
Hildegard Heichele Rosalinde - Kiri Te
Kanawa Alfred - Ryszard Karczykowski
Gabriel von Eisenstein - Hermann Prey Blind
-Paul Crook Falke - Benjamin Luxon Colonel
Frank - Michael Langdon Ida - Kate Gielgud
Ivan - Richard Hazell Prince Orlofsky - Robert
Tear Guest - Merle Park Guest - Wayne
Eagling Frosch - Josef Meinrad The Royal
Opera Chorus The Orchestra of the Royal
Opera House]
THE ART OF PIANO (Great Pianists of the
20th Century) [Full list of pieces played in the
documentary 0:00 Liszt Transcandental Etude
no 1 1:22 Beethoven Sonata Op 57
"Appasionata" 1st movement 3:45 Liszt
Hungarian Rhapsody No. 2 6:02 Liszt Hungarian
Rhapsody No. 2 10:00 Rachmaninoff prelude Op
3 No. 2 13:32 Rachmaninoff piano concerto no
3, 1st movement 15:07 Rachmaninoff piano
concerto no 3, 1st movement 16:15
Rachmaninoff piano concerto no 2, 3rd
movement 18:26 Rachmaninoff prelude Op. 32
No 10 22:39 (Judging from his hand
movements) could be either Tchaikovsky Piano
Concerto No. 1, 3rd mov (the famous octaves)
or Chopin Etude Op 25 No. 10 23:07 (Judging
from his hand movements) Chopin Etude Op. 10
No 8 23:33 Scriabin Etude Op. 8 No. 12 28:38
Horowitz's own transcription of Variations of
the Bizet's Carmen 33:07 Liszt Grand Gallop
Chromatique 35:17 Liszt Grand Galop
Chromatique 38:17 Mozart Piano Concerto K.
453 39:38 beethoven Sonata Op. 57
"Appasionata" 1st movement 42:26 Chopin
Heroic Polonaise Op. 53 43:53 (Judging from
hand movements) Chopin Etude Op. 25 No. 5
46:35 Beethoven Piano Concerto No 4, Cadenza,
1st movement 52:09 Chopin Etude Op. 10 No. 7
52:45 Chopin Waltz Op. 69 No 1 55:29 Chopin
Etude Op 10 No 1 56:56 Schumann Kinderzenen

No. 13 Der Dichter spricht (The Poet Speaks)
1:00:31 (Judging from his hand movements)
Chopin Etude Op. 25 No. 9 1:00:45 Beethoven
Piano Concerto No. 4, 1st movement 1:02:48
Beethoven Piano Concerto No. 4, 2nd
movement 1:06:43 Bach Well Tempered Clavier
Book 1 No. 2 in c minor - Prelude 1:07:22 Bach
Well-Tempered Clavier Book 1 No. 1 in C major -
Prelude 1:09:15 Beethoven Piano Concerto No.
4, 2nd movement 1:11:48 Rachmaninoff
Prelude Op. 23 No. 5 1:13:34 Tchaikovsky Piano
Concerto No. 1, Cadenza 1st movement 1:15:58
Tchaikovsky Piano Concerto No. 1, 3rd
movement 1:18:20 Chopin Revolutionary Etude
Op. 10 No. 12 1:22:13 Scarlatti Keyboard Sonata
L.449 in b minor 1:25:33 Bach Partita No. 2 in C
minor 1:26:52 Ravel La Valse for piano 1:28:36
Bach harpsichord concerto D minor BWV1052
1:33:19 Brahms Piano Concerto No. 2, 4th
movement 1:34:28 Brahms Piano Concerto No.
2, 4th movement 1:37:17 Beethoven Piano
Sonata Op. 111, 2nd movement 1:45:04 Chopin
minute waltz]
La Battaglia di Legnano Music by Giuseppe
Verdi Libretto by Salvatore Cammarano
Conducted by Lamberto Gardelli 1977
performance in Vienna Starring José Carreras
as Arrigo Katia Ricciarelli as Lidia Matteo
Manuguerra as Rolando Nicola Ghiuselev as
Federico Barbarossa Jonathan Summers as
Marcovaldo Ann Murray as Imelda
Cavalleria Rusticana Music by Pietro
Mascagni Libretto by Giovanni Targioni-
Tozzetti & Guido Menasci Conducted by
Georges Prêtre Directed by Franco Zeffirelli
Starring Placido Domingo as Turiddu Elena
Obraztsova as Santuzza Renato Bruson as
Alfio Fedora Barbieri as Lucia Axelle Gall as
Lola
Un Ballo in Maschera Music by Giuseppe
Verdi Libretto by Antonio Somma Conducted
by Georg Solti Performed in 1990 at Salzburg
Festival Starring Placido Domingo as King
Gustav III of Sweden Leo Nucci as Renato
18
Josephine Barstow as Amelia Florence Quivar
as Ulrica Sumi Jo as Oscar
RIGOLETTO (Verdi, Giuseppe) [Carlo
Bergonzi--Duke Dietrich Fischer Dieskau--
Rigoletto Renata Scotto--Gilda Fiorenza
Cossotto--Maddalena Ivo Vinco--Sparafucile
Fiorena Cossutto--Maddalena Mirella
Fiorentini--Giovanna Lorenzo Testi--
Monterone Virgilio Carbonati--Marullo Piero di
Palma--Borsa Alfredo Giacomotti--Ceprano
Catarina Alda--Contessa Giuserppe Morresi--
Usciere Catarina Alda--Paggio Rafael
Kubelik--conductor Orchestra del Teatro alla
Scala di Milano 1964]
RIGOLETTO (Verdi, Giuseppe) [1963 RCA
studio recording of Giuseppe Verdi's
"Rigoletto". Rigoletto: Robert Merrill Il ducca di
Mantua: Alfredo Kraus Gilda: Anna Moffo
Magda: Rosalind Elias Sparafucile: Ezio
Flagello Conductor: Georg Solti Orchestra e
Coro della RCA Italiana]
Selections from different operas by Richard
Strauss, as sung by Leontyne Price for her
RCA recital discs. 1. Sieh, Amme, sieh
(Empress's awakening scene) 00:00:00 2.
Fass' ich sie Bang 00:14:13 3. Da geht er hin
(the Marschallin's monologue) 00:19:42 4. Es
gibt ein Reich 00:25:43 5. Zweite Brautnacht
00:32:52 6. Ah, du woltest nicht (Interlude and
final scene from "Salome") 00:37:45 Soprano:
Leontyne Price Tracks #1-3 Conductor: Erich
Leinsdorf New Philharmonia Orchestra Track
#4 Conductor: Fausto Cleva London
Symphony Orchestra Tracks #5-6 Conductor:
Erich Leinsdorf Boston Symphony Orchestra
BeschreibungLeontyne Price sings "Vier letzte
Lieder" by Richard Strauss 1. Frühling 2.
September 3. Beim Schlafengehen 4. Im
Abendrot Staatskapelle Dresden Herbert
Blomstedt, conductor
From the Olympic Stadium at Garmisch-
Partenkirchen, Germany Margaret Price -
soprano Georges Prêtre - conductor Bamberg
Symphony Orchestra (Bamberger
Symphoniker) Richard Strauss - Four Last

Songs (Vier letzten Lieder, AV 150 - TrV 296)
0:37 Frühling (Spring) 4:05 September 8:30
Beim Schlafengehen (When Falling Asleep)
13:57 Im Abendrot (At Sunset) This gala
concert was recorded live from the Olympic
Stadium at Garmisch-Partenkirchen. Georges
Prêtre conducts the Bamberg Symphony
Orchestra in performances of Strauss’s last
full-scale orchestral work, Eine Alpensinfonie
and his tone-poem Till Eulenspiegels lustige
Streiche. Soprano Margaret Price is the
soloist for Vier Letzte Lieder.
IL TABARRO (Puccini, Giacomo) [Renato
Bruson (Michele) Marilyn Zschau (Giorgetta)
Vladimir Atlantov (Luigi) Heinz Zednik (Tinca)
Alfred Sramek (Talpa) Czeslawa Slania
(Frugola) Waltraud Winsauer/Horst Nitsche
(Due Amanti) Michele Fiotta (Un venditore di
canzonette) Hiroko Shiraishi/Horst Nitsche
(Due voci) Chor & Orchester der Wiener
Staatsoper Gerd Albrecht, Conductor Wien,
11.II.1979]
SUOR ANGELICA (Puccini, Giacomo) [Pilar
Lorengar (Suor Angelica) Kerstin Meyer (La
Zia Principessa) Margarethe Bence (La
Badessa) Axelle Gall (La Suora CZelatrice)
Czeslawa Slania (La Maestra delle Novize)
Olivera Miljakovic (Suor Genovietta) Maria
Venuti (Suor Dolcina) Silvia
Herman/Margareta Hintermeier (Due Suore
Cercatrici) Elfie Hobath/Irmgard Röschnar
(Due Novizie) Chor & Orchester der Wiener
Staatsoper Gerd Albrecht, Conductor Wien,
11.II.1979]
GIANNI SCHICCHI (Puccini, Giacomo)
[Walter Berry (Gianni Schicchi) Sona
Ghazarian (Lauretta) Margarita Lilova (Zita)
Yordi Ramiro (Rinuccio) Heinz Zednik
(Gherardo) Cheryl Kanfoush (Nella)
Sängerknabe (Gherardino) Hans Kraemmer
(Betto di Signa) Rudolf Mazzola (Simone)
Alfred Sramek (Marco) Marjana Lipovsek (La
Ciesca) Erich Kunz (Maestro Spinelloccio)
Paul Wolfrum (Ser Amatio di Nicolao) Rudolf
Kostas (Pinellino) Walter Fink (Guccio)
Orchester der Wiener Staatsoper Gerd
Albrecht, Conductor Wien, 11.II.1979]
19
LA GIOCONDA (Ponchielli, Amilcare) [Zinka
Milanov (La Gioconda) Belan Amparan (La
Cieca) Plinio Clabassi (Alvise Badoero)
Rosalind Elias (Laura) Giuseppe Di Stefano
(Enzo Grimaldo) Leonard Warren (Barnaba)
Fernando Valentini (Zuane) Giacomo Cottino
(Isepo) Fernando Volontieri (Un nNocchiero)
Virgilio Carbonari (Un Cantore) Orchestra e
Coro dell' Academia di Santa Cecilia di Roma
Fernando Previtali, Conductor]
LA FORZA DEL DESTINO (Giuseppe Verdi)
[Leontyne Price--Donna Leonora Plácido
Domingo--Don Alvaro Sherrill Milnes-Don
Carlo Fiorenza Cossotto--Preziosilla Gabriel
Bacquier--Melitone Kurt Moll--Calatrava
James Levine--conductor London Symphony
Orchestra 1977]
FAUST (Charles Gounod) [Dame Joan
Sutherland--Marguerite Franco Corelli--Faust
Nicolai Ghiaurov--Méphistophélès Robert
Massard--Valentin Margreta Elkins--Siebel
Monica Sinclair--Martha Raymond Myers--
Wagner Richard Bonynge--conductor London
Symphony Orchestra 1966]
ADRIANA LECOUVREUR (Francesco Cilea)
[Adriana: Magda Olivero Maurizio: Ferrando
Ferrari Michonnet: Renato Capecchi La
Principessa: Mimi Aarden Il Principe: Franco
Ventriglia Jouvenot: Elisabeth Lugt
Dangeville: Else de Graaf Poisson: Simon van
der Geest Quinault: Max von Egmond Fulvio
Vernizzi, Conductor Amsterdam 1965]
DIE FLEDERMAUS (Johann Strauss II)
[Julius Patzak--Eisenstein Hilde Gueden--
Rosalinde Wilma Lipp--Adele Alfred Poell--
Falke Sieglinde Wagner--Orlovsky August
Jaresch--Dr. Blind Kurt Preger--Frank
Clemens Krauss--conductor WIener
Philhamoniker 1950]
JENUFA (Leos Janacek)
[Jenůfa......................................Gabriela

Beňačková
Kostelnička..............................Leonie
Rysanek Laca
Klemeň............................Wieslaw Ochman
Števa........................................Peter Kazaras
Karolka....................................Katryn
Cowdrick Sindaco...................................Frank
Barr Jano........................................Katherine
Johnson
Stárek......................................Kenneth Shaw
Moglie del sindado.................Nikki Li Hartliep
Patulchyňa..............................Maro Partamian
Zia di Kostelnička...................Maro Partamian
Opera Orchestra of New York Chorus
master....Hugh Ross Schola Cantorum of New
York New York - Carnegie Hall 30 marzo. Eve
Queler. 1988]
IL TABARRO (Giacomo Puccini) [Teatro alla
Scala, 1983. Piero Cappuccilli - Michele Sylvia
Sass - Giorgetta Nicola Martinucci - Luigi
Sergio Bertocchi - Il 'Tinca' Aldo Bramante - Il
'Talpa' Eleonora Jankovic - La frugola Ernesto
Gavazzi - Venditore di canzonette Vito Gobbi -
Voce interna Jeda Valtriani - Voce interna
Bruno Brando - Un amante Gianandrea
Gavazzeni – Conductor] (Video)
DIE WINTERREISE (Franz Schubert) [Lois
Marshall, soprano; Anton Kuerti, piano. 1976.
LIVE]
LUCIO SILLA (WA Mozart) [Peter Schreier--
Lucio SIlla Edita Gruberova--Giunia Cecilia
BArtoli--Cecilio Dawn Upshaw--Celia Yvonne
Kenny--Cinna Nikolaus Harnoncourt--
conductor Concentus musicus Wien 1989]
ERNANI (Giuseppe Verdi)
[Ernani................................Flaviano Labò Don
Carlo..........................Cornell MacNeil
Silva..................................Jerome Hines
Elvira..................................Margherita Roberti
Giovanna...........................Carmen Morra Don
Riccardo....................Italo Pasini
Jago..................................Pino de Vescovi
Orquesta Estable del Teatro Colón de Buenos
Aires Teatro Colón de Buenos Aires Buenos
Aires. Fernando Previtali - 28 agosto 1964]
20
PIQUE DAME (Peter Tchaikovsky)
[Herman................................Vladimir Atlantov
La contessa.........................Elena Obraztsova
Liza......................................Julia Varady Il
conte Tomskij...................Alexander Voroshilo
Polina...................................Ludmila
Shemchuk Il principe Eleckij.................Bodo
Brinkmann
Čekalinskij...........................Yoshihisa Yamaji
Surin....................................Karl Helm
Narumov.............................Alfred Kuhn Il
maestro di cerimonie......Friedrich Lenz La
governante.....................Gudrun Wewezow
Maša, cameriera di Liza.....Carmen Anhorn Il
ragazzo comandante.......Vladimir Pavič
Bayerischen Staatsoper - Nationaltheater
München Chor der Bayerichen Staatsoper -
Kinderchor des Pestalozzi -Gymnasiums -
Bayerisches Staatorchester München - 24
novembre 1984. Algis Shuraitis]
CATERINA CORNARO (Gaetano Donizetti)
[Caterina Cornaro..............Montserrat Caballé
Gerardo............................Jaume Aragall
Lusignano………………….......Ryan Edwards
Mocenigo..........................Gwynne Howell
Andrea Cornaro….............Claude Meloni
Strozzi/Cavaliere..............Gérard Friedman
Matilde……………………..........Odile Pieti
Choeur Lirique de l’ORTF - Orchestre Lirique
de l’ORTF Salle Pleyel Parigi - 25 novembre
1973. Gianfranco Masini]
LOHENGRIN (Richard Wagner)
[Lohengrin............................Charles Craig
Elsa......................................Pilar Lorengar ♥
Ortrud..................................Ruth Hesse ♥
Friedrich von Telramund....Hans Günter
Nöcker König Heinrich....................Peter
Lagger Der Heerrufer des Königs..Ingvar
Wixell Chor und Orchester Der Deutschen
Oper Berlin Osaka - Festival Hall 19 marzo,
1970. Lorin Maazel]
PRINCE IGOR (Alexander Borodin) [2:35:12]
[Constantin Chekerliiksi [Igor
Svastoslavich]
Boris Christoff [Prince Galitsky | Khan
Konchak]
Todor Todorov [Vladimir]
 21

Cyril Dulguerov [Eroshka] The English Baroque Soloists

Alexei Milkovsky [Skula] His Majestie's Sagbutts & Cornetts
Luben Mikhailov [Lovlur] John Eliot Gardiner, conductor]
Julia Wiener [Yaroslavna]
Reni Penkova [Konchakovna]
Radka Gaeva [Nurse]
Liliana Bareva [Polovtsian Girl]
FAUST (Charles Gounod) [2:54:49]
Chorus and Orchestra of the National
[Kiri Te Kanawa (soprano) [Marguerite]
Opera Theatre of Sofia
Francisco Araiza [Faust]
Jerzy Semkov, conductor]
Evgeny Nesterenko [Méphistophélès]
DIE WALKURE (Richard Wagner) Andreas Schmidt (baritone) [Valentin]
[3:57:01][Jon Vickers [Siegmund] Pamela Coburn [Siébel]
Martti Talvela [Hunding] Marjana Lipovsek (alto) [Marthe]
Thomas Stewart (baritone) [Wotan] Gilles Cachemaille (bass) [Wagner]
Gundula Janowitz [Sieglinde] Bavarian Radio Chorus and Symphony
Régine Crespin (soprano) [Brünnhilde] Orchestra
Josephine Veasey [Fricka] Colin Davis, conductor]
Liselotte Rebmann [Gerhilde]
I CAPULETTI E I MONTECCHI (Vincenzo
Carlotta Ordassy [Ortlinde]
Bellini) [2:10:33] [Agnes Baltsa (mezzo-
Ingrid Steger [Waltraute]
soprano) [Romeo]
Lilo Brockhaus [Schwertleite]
Edita Gruberova [Giulietta]
Daniza Mastilovic [Helmwige]
Gwynne Howell [Capellio]
Barbro Ericson [Siegrune]
Dano Raffanti [Tebaldo]
Cvetka Ahlin [Grimgerde]
John Tomlinson [Lorenzo]
Helga Jenckel [Roßweisse]
Chorus and Orchestra of the Royal
Berlin Philharmonic
Opera House, Covent Garden
Herbert von Karajan, conductor]
Riccardo Muti, conductor]
L’ORFEO (Claudio Monteverdi) [1:46:05]
DIE ENTFUHRUNG AUS DEM SERAIL (WA
[Anthony Rolfe Johnson (tenor) [Orfeo]
Mozart) [2:03:26] [Edita Gruberova
Julianne Baird [Euridice]
[Konstanze]
Lynne Dawson (soprano) [La Musica]
Kathleen Battle [Blonde]
Anne Sofie von Otter (mezzo-soprano)
Gösta Winbergh [Belmonte]
[Messaggiera]
Heinz Zednik [Pedrillo]
Nancy Argenta (soprano) [Ninfa]
Martti Talvela [Osmin]
Mary Nichols [Speranza]
Will Quadflieg [Selim]
John Tomlinson [Caronte/Sprito III]
Vienna State Opera Concert Chorus
Diana Montague (alto) [Proserpina]
Vienna Philharmonic
Willard White [Plutone]
Georg Solti, conductor]
Mark Tucker (tenor) [Pastore I/Eco]
Nigel Robson [Pastore II/Apollo] TIEFLAND (Eugen d’Albert) [1:53:49]
Michael Chance (alto) [Pastore III] (Paul Schöffler [Sebastino]
Simon Birchall (bass) [Pastore IV] Oskar Czerwenka [Tommaso]
Howard Milner [Spirito I] Gré Brouwenstijn [Marta]
Nicolas Robertson [Spirito II] Judith Hellwig [Pepa]
The Monteverdi Choir [Coro di ninfe e Ruth Nixa [Antonia]
pastori | Coro di spiriti] Kerttu Metsälä [Rosalia]

Dodi Protero [Nuri]
Eberhard Wächter [Moruccio]
Hans Hopf [Pedro]
Waldemar Kmentt [Nando]
Vienna State Opera Chorus
Vienna Symphony Orchestra
Rudolf Moralt, conductor]
SALOME (Richard Strauss) [1:39:08]
(Birgit Nilsson (soprano) [Salome]
Gerhard Stolze [Herodes]
Grace Hoffman [Herodias]
Eberhard Wächter [Jochanaan]
Waldemar Kmentt [Narraboth]
Josephine Veasey [Der Page der
Herodias]
Paul Kuen [Erster Jude]
Stefan Schwer [Zweiter Jude]
Kurt Equiluz [Dritter Jude]
Aron Gestner [Vierter Jude]
Max Proebstl [Fünfter Jude]
Tom Krause [Erster Nazarener]
Nigel Douglas [Zweiter Nazarener]
Zenon Kosnowski [Erster Soldat]
Heinz Holecek [Zweiter Soldat]
Theodor Kirschbichler [Ein Kappadozier]
Liselotte Maikl [Ein Sklave]
Vienna Philharmonic
Georg Solti, conductor)
MAOMETTO SECONDO (Gioachino
Rossini) [3:03:58) [June Anderson [Anna
Erisso]
Margarita Zimmermann [Calbo]
Ernesto Palacio [Paolo Erisso]
Samuel Ramey (bass) [Maometto]
Laurence Dale [Condulmiero | Selimo]
Ambrosian Opera Chorus
Philharmonia Orchestra
Claudio Scimione, conductor]
JAKOBIN (Antonin Dvorak) [2:30:19]
(Karel Prusa [Count Vilem of Harasov]
Vaclav Zitek [Bohus of Harasov]
René Tucek [Adolf of Hasarov]
Marcela Machotkova [Julie]
Karel Berman [Filip]
Vilem Pribyl [Jiri]
Beno Blachut [Benda]
Daniela Sounova [Terinka]
22
Ivana Mixova [Lotinka]
Kantiléna Children's Chorus
The Kühn Mixed Choir
Brno State Philharmonic Orchestra
Jiri Pinkas, conductor)
COSI FAN TUTTE (WA Mozart) [2:47:41]
(Renée Fleming (soprano) [Fiordiligi]
Anne Sofie von Otter (mezzo-soprano)
[Dorabella]
Olaf Bär (baritone) [Guglielmo]
Frank Lopardo (tenor) [Ferrando]
Adelina Scarabelli [Despina]
Michele Pertusi [Don Alfonso]
London Voices [Soldiers, servants,
mariners]
Chamber Orchestra of Europe
Georg Solti, conductor]
ORPHEE AUX ENFERS (Jacques
Offenbach) [2:20:32] (Jane Rhodes
Hugues Brambilla
Mady Mesple
Michel Sénéchal
Charles Burles
Michele Command
Jane Berbie
Jean-Philippe Lafont
Michel Trempont
Michele Pena
Daniele Castaings
Andre Mallabrera
Bruce Brewer
Jean-Claude Bonnafous
Roger Trentin
Henri Amiel
Jean Bussard
Jacqueline Valliere
Andre Valdeneige
Petits Chanteurs a la Croix Potencee
Toulouse Capitol Chorus
Toulouse Capitol Orchestra
Michel Plasson, conductor]
ANNA BOLENA (Gaetano Donizetti)
[3:12:06] (Joan Sutherland (soprano)
[Anna Bolena]
Samuel Ramey (bass) [Enrico VIII]
Jerry Hadley (tenor) [Lord Riccardo
Percy]

Susanne Mentzer [Giovanna Seymour]
Bernadette Manca di Nissa [Smeton]
Giorgio Surian [Lord Rochefort]
Ernesto Gavazzi [Sir Hervey]
Chorus of the Welsh National Opera
[Cortigiani, dame, paggi, scudieri,
cacciatori, sceriffi, guardie]
Orchestra of the Welsh National Opera
Richard Bonynge, conductor)
LA CENERENTOLA (Gioachino Rossini)
[2:29:20] (Agnes Baltsa [Cenerentola
(Angiolina)]
Francisco Araiza [Don Ramiro]
Simone Alaimo [Dandini]
Ruggero Raimondi (baritone) [Don
Magnifico]
Carol Malone [Clorinda]
Felicity Palmer (soprano) [Tisbe]
John Del Carlo [Alidoro]
Ambrosian Opera Chorus
Academy of St. Martin in the Fields
Neville Marriner, conductor)
MACBETH (Giuseppe Verdi) [2:17:30]
(Leo Nucci (baritone) [Macbeth]
Samuel Ramey (bass) [Banco]
Shirley Verrett [Lady Macbeth]
Anna Caterina Antonacci [Dama]
Veriano Luchetti [Macduff]
Antonio Barasorda [Malcolm]
Sergio Fontana [Medico]
Gianfranco Casarini [Servo]
Gastone Sarti [Sicario]
Giuseppe Morresi [Araldo]
Natale de Carolis [Prima apparizione]
Barbara Briscik [Seconda apparizione]
Marco Fanti [Terza apparizione]
Coro del Teatro Comunale di Bologna
[Streghe, messaggeri del re, nobili e
profughi scozzesi, sicari, soldati inglesi,
bardi]
Orchestra del Teatro Comunale di
Bologna
Riccardo Chailly, conductor)
23
LES CONTES D’HOFFMANN (Jacques
Offenbach) [2:20:04] (Plácido Domingo
(tenor) [Hoffmann]
Edita Gruberova
[Olympia/Antonia/Giulietta]
Claudia Eder [Nicklausse/La Muse]
Andreas Schmidt (baritone) [Lindorf]
Gabriel Bacquier [Coppélius]
James Morris (bass) [Miracle]
Justino Diaz [Dapertutto]
Robert Gambill [Andrès]
Paul Crook [Cochenille/Pitichinaccio]
Michel Sénéchal (bass) [Frantz]
Christa Ludwig (mezzo-soprano) [La voix
de la mère d'Antonia]
Robin Leggate [Nathanaël]
Gérard Friedmann [Spalanzani]
Urban Malmberg (bass) [Hermann]
Richard Van Allan [Schlémil]
Kurt Rydl [Luther]
Harald Stamm [Crespel]
Chœurs de Radio France [Esprits
invisibles, étudiants, garçons de
taverne, invités de Spalanzani, laquais,
invitétes de Giulietta]
Orchestre National de France
Seiji Ozawa, conductor)
THE TSAR’S BRIDE (Nikolai Rimsky-
Korsakov) [2:28:21] (Gennady
Bezzubenkov [Vasily Stepanovich
Sobakin]
Marina Shaguch [Marfa]
Dmitri Hvorostovsky [Grigory
Grigoryevich Gryaznoy]
Sergei Alexashkin [Grigory Lukyanovich
Malyuta-Skuratov]
Evgeny Akimov [Ivan Sergeyevich
Lykov]
Olga Borodina [Lyubasha]
Nikolai Gassiev [Yelisey Bomelius]
Irina Loskutova [Domna Ivanovna
Saburova]
Olga Markova-Mikhailenko [Dunyasha]
Lyubov Sokolova [Petrovna]
Yuri Shkliar [Stoker]
Lyudmila Kasjanenko [Serving Girl]
Viktor Vikhrov [Lad]
Kirov Chorus and Orchestra, St.

Petersburg
Valery Gergiev, conductor)
DANTE (Benjamin Godard) [2:21:52]
(Dante: Edgaras Montvidas
Béatrice: Véronique Gens
Bardi: Jean-Francois Lapointe
Gemma: Rachel Frenkel
L'Ombre de Virgile/Un Vieillard: Andrew
Foster-Williams
L'Écolier: Diana Axentii
Un Héraut d'arme: Andrew Lepri Meyer
Chor des Bayerischen Rundfunks
Münchner Rundfunkorchester
Ulf Schirmer, conductor)
FRA DIAVOLO (Auber) [2:15:01] (Fra
Diavolo ..... John Osborn (tenor)
Lord Rocburg ..... Roberto de Candia
(baritone)
Lady Pamela ..... Sonia Ganassi (mezzo-
soprano)
Lorenzo ..... Giorgio Misseri (tenor)
Zerlina ..... Anna Maria Sarra (soprano)
Mathéo ..... Alessio Verna (bass)
Giacomo ..... Jean Luc Ballestra (bass)
Beppo ..... Nicola Pamio (tenor)
Rome Opera Chorus
Rome Opera Orchestra
Rory Macdonald, conductor)
LA FAVORITA (Gaetano Donizetti)
[2:30:08] (Anthony Michaels-Moore
[Alphonse XI]
Vesselina Kasarova [Léonor de Guzman]
Abbie Furmansky [Inès]
Ramon Vargas [Fernand]
Carlo Colombara [Balthazar]
Francesco Piccoli [Don Gaspar]
Lorenz Fehenberger [Un seigneur]
Bavarian Radio Chorus
Münchner Rundfunkorchester
Marcello Viotti, conductor)
DIE MEISTERSINGER VON NURNBERG
(Richard Wagner) [4:38:57] (Hans Sachs
- Josef Greindl
Veit Pogner - Theo Adam
Sixtus Beckmesser - Karl Schmitt-Walter
Fritz Kothner - Ludwig Weber
24
Walther von Stolzing - Wolfgang
Windgassen
David - Gerhard Stolze
Eva - Elisabeth Grümmer
Magdalena - Elisabeth Schärtel
Nachtwächter - David Ward
Kunz Vogelgesang - Georg Paskuda
Konrad Nachtigall - Egmont Koch
Ulrich Eisslinger - Harald Neukirch
Balthasar Zorn - Heinz-Günter
Zimmermann
Augustin Moser - Hermann Winkler
Hermann Ortel - Hans Habietinek
Hans Schwarz - Fritjof Sentpaul
Hans Foltz - Eugen Fuchs
Bayreuth Festival
Josef Krips, conductor
1961, Live)
DIE MEISTERSINGER VON NURNBERG
(Richard Wagner) [4:37:44] (Hans Sachs
- Otto Wiener
Veit Pogner - Hans Hotter
Sixtus Beckmesser - Toni Blankenheim
Fritz Kothner - Eberhard Wächter
(Waechter)
Walther von Stolzing - Josef Traxel
David - Gerhard Stolze
Eva - Elisabeth Grümmer
Magdalena - Elisabeth Schärtel
Nachtwächter - Donald Bell
Kunz Vogelgesang - Fritz Uhl
Konrad Nachtigall - Egmont Koch
Ulrich Eisslinger - Erich Benke
Balthasar Zorn - Heinz-Günter
Zimmermann
Augustin Moser - Hermann Winkler
Hermann Ortel - Hans Habietinek
Hans Schwarz - Hans Günter Nöcker
Hans Foltz - Eugen Fuchs
Bayreuth Festival Chorus
Bayreuth Festival Orchestra
André Cluytens, conductor
1958, Bayreuth)
IL PIRATA (Vincenzo Bellini) [2:31:41]
(Imogene ..... Angela Meade (soprano)
Gualtiero ..... Santiago Ballerini (tenor)
Ernesto ..... Harold Wilson (bass) 

Itulbo ..... Sean Christensen (tenor)  Vienna Symphony Orchestra
Adele ..... Robyn Marie Lamp (soprano)  Enrique Mazzola, conductor)
Goffredo ..... Joseph Beutel (bass-
baritone)
Chorus of Caramoor's Bel Canto Young
Artists
St. Luke's Orchestra
Will Crutchfield, conductor)
ARIODANTE (GF Handel) [3:36:50]
(Sarah Connolly (Ariodante)
Chen Reiss (Ginevra)
Hila Fahima (Dalinda)
Christophe Dumaux (Polinesso)
Rainer Trost (Lurcanio)
Wilhelm Schwinghammer (Il Re di
Scozia)
Gustav Mahler Chor
Les Arts Florissants
William Christie, conductor)
HAMLET (Ambroise Thomas) [2:54:02]
(Thomas Hampson (baritone) [Hamlet]
June Anderson [Ophélie]
Samuel Ramey (bass) [Claudius, Roi du
Danemark]
Gregory Kunde [Laërte]
Denyce Graves [La Reine Gertrude]
Jean-Philippe Courtis [Le Spectre]
Gerard Garino [Marcellus]
François Le Roux [Horatio]
Michel Trempot [Polonius]
Thierry Felix [Premier Fossoyeur]
Jean-Pierre Furlan [Second Fossoyeur]
Ambrosian Opera Chorus
London Philharmonic Orchestra
Antonio de Almeida, conductor)
MOSES IN EGYPT (Gioachino Rossini)
[2:21:05] (Pharoah ..... Andrew Foster-
Williams (baritone)
Amaltea ..... Mandy Fredrich (soprano)
Osiride .....Sunnyboy Dladla (bass)
Elcia ..... Clarissa Costanzo (soprano)
Mambre ..... Taylan Reinhard (tenor)
Moses ..... Goran Juric (bass)
Aaron ..... Matteo Macchioni (tenor)
Amenofi ..... Dara Savinova (mezzo-
soprano)
Prague Philharmonic Chorus
25
DIE FLEDERMAUS (Johann Strauss II)
[2:19:46] (Eisenstein - John Dickie
Rosalinde - Gabriele Fontana
Alfred - Josef Hopferwieser
Blind - Erich Wessner
Falke - Andrea Martin
Adele - Brigitte Karwautz
Orlofsky - Rohangiz Yachmi(-Caucig)
Frank - Alfred Werner
Bratislava City Chorus
Bratislava Radio Symphony Orchestra
Johannes Wildner, conductor
1991)
OSUD (Leos Janacek) [1:20:24] (Míla
Valková ..... Giselle Allen (soprano)
Živný ..... John Graham-Hall (tenor)
Míla's Mother ..... Rosalind Plowright
(soprano)
Dr. Suda ..... Peter Auty (tenor)
Lhotský ..... Richard Burkhard (baritone)
Konečný ..... Dean Robinson (baritone)
Miss Stuhlá ..... Ann Taylor (mezzo-
soprano)
Chorus and Orchestra of Opera North
Martin André, conductor]
THE MAID OF ORLEANS (Peter
Tchaikovsky) [2:49:19) [Jeanne d'Arc -
Ksenia Dudnikova.
Karl VII - Migran Agadzjanjan.
Agnès Sorel - Mary Feminear.
Dunois - Roman Burdenko.
Lionel - Boris Pinchasovitj.
Ärkebiskopen - Marek Kalbus.
Raymond - Boris Stepanov.
En soldat - Alexandar Tjavejev.
Thibaut d'Arc - Alexej Tichomirov.
Bertrand - Alexej Milev.
Loré - Peter Baekeun Cho.
Stora teaterns kör, Genève
Romanska Schweiz orkester
Dmitri Jurowski, conductor
12 April 2017, Victoriasalen, Genève)

LA RONDINE (Giacomo Puccini) [1:43:17]
(Kiri Te Kanawa (soprano) [Magda]
Plácido Domingo (tenor) [Ruggero]
Mariana Nicolesco [Lisette]
David Rendall [Prunier]
Leo Nucci (baritone) [Rambaldo]
Lillian Watson [Yvette]
Ambrosian Opera Chorus
London Symphony Orchestra
Lorin Maazel, conductor)
DIALOGUES DES CARMELITES (Francois
Poulenc) [2:34:40] (Nicolas Cavallier,
bariton, le Marquis de la Force
Patricia Petibon, sopraan, Blanche de la
Force
Stanislas de Barbeyrac, tenor, le
Chevallier de la Force
Guy De Mey, tenor, l'Aumônier du
Carmel
Nabil Suliman, bariton, Thierry, le
Géôlier, le médecin
Sophie Pondjiclis, mezzosopraan,
Madame de Croissy
Véronique Gens, sopraan, Madame
Lidoine
Sophie Koch, sopraan, Mère Marie de
l'Incarnation
Sandrine Piau, sopraan, Soeur
Constance de Saint-Denis
Mireille Capelle, mezzosopraan, Mère
Jeanne de l'Enfant Jésus
Angélique Noldus, mezzosopraan, Soeur
Mathilde
Yves Saelens, tenor, premier
commissaire
Arnaud Richard, basbariton, second
commissaire
Symfonieorkest en koor van de Munt en
Kooracademie
Alain Altinoglu, conductor)
FATINITZA (Franz von Suppe) [2:15:35]
(Stephanie Houtzeel
Steven Scheschareg
Bernhard Adler
Zora Antonic
Christian Bauer
Gerhard Balluch
26
Maha Marrawi
Rita Novikaite
Agnieszka Rehlis
Yu-Yu Wang
Erik Goller
Karl Herbst
Bad Ischl Lehár Festival Choir
Franz Lehár Orchestra
Vinzenz Praxmarer, conductor
21 - 24 August 2006, Festspielsaal Bad
Ischl)
LES PECHEURS DES PERLES (Georges
Bizet) [1:44:13] (Janine Micheau [Leïla]
Nicolai Gedda [Nadir]
Ernest Blanc [Zurga]
Jacques Mars [Nourabad]
Chours du Théâtre National de l'Opéra-
Comique
Orchestre du Théâtre National de
l'Opéra-Comique
Pierre Dervaux, conductor)
SEMIRAMIDE (Gioachino Rossini)
[3:37:54] (Semiramide ..... Joyce
DiDonato (mezzo-soprano)
Assur ..... Michele Pertusi (bass)
Arsace ..... Daniela Barcellona (mezzo-
soprano)
Idreno ..... Lawrence Brownlee (tenor)
Azema ..... Jacquelyn Stucker (soprano)
Oroe ..... Bálint Szabó (bass)
Mitrane ..... Konu Kim (tenor)
Nino's Ghost ..... Simon Shibambu (bass)
Royal Opera Chorus
Orchestra of the Royal Opera House
Antonio Pappano, conductor)
ATALANTA (GF Handel) [2:19:52] Éva
Farkas [Atalanta]
Éva Bártfai-Barta [Meleagro]
Éva Lax [Irene]
János Bándi [Aminta]
József Gregor [Nicandro]
László Polgár [Mercury]
Savaria Vocal Ensemble
Capella Savaria
Nicholas McGegan, conductor)

LOHENGRIN (Richard Wagner) [3:31:31]
(Kurt Moll [Heinrich der Vogler (Henry
the Fowler)]
Siegfried Jerusalem [Lohengrin]
Cheryl Studer [Elsa von Brabant]
Hartmut Welker [Friedrich von
Telramund]
Waltraud Meier [Ortrud]
Andreas Schmidt [The King's Herald]
Bojidar Nikolov [Nobleman of Brabant]
Franz Kasemann [Nobleman of Brabant]
Claudio Otelli [Nobleman of Brabant]
Peter Koves [Nobleman of Brabant]
Amy-Linda Domaracki [Page]
Ingrid Sieghart [Page]
Senta Fischer [Page]
Elisabeth Mach [Page]
Vienna State Opera Chorus [Saxon and
Thuringian counts and nobles
Brabantine counts and nobles,
noblewomen, pages, vassals, ladies,
serfs]
Vienna Philharmonic
Claudio Abbado, conductor)
OTELLO (Giuseppe Verdi) [2:29:35]
(Hans Beirer, Renata Tebaldi, William
Dooley. Deutschen Opera Berlin.
Giuseppe Patane. 1962) [Video]
LA FORZA DEL DESTINO (Giuseppe
Verdi) [Part 1] (42:33) [Franco Corelli,
Renata Tebaldi, Ettore Bastianini, Boris
Christoff, Renato Capecchi, Oralia
Dominguez, Renato Capecchi. Francesco
Molinari-Prandelli. 1958. Naples] (Film)
LA FORZA DEL DESTINO (Giuseppe
Verdi) [Part 2] (1:03:17) [Franco Corelli,
Renata Tebaldi, Ettore Bastianini, Boris
Christoff, Renato Capecchi, Oralia
Dominguez, Renato Capecchi. Francesco
Molinari-Prandelli. 1958. Naples] (Film)
LA FORZA DEL DESTINO (Giuseppe
Verdi) [Part 3] (52:18) [Franco Corelli,
Renata Tebaldi, Ettore Bastianini, Boris
Christoff, Renato Capecchi, Oralia
Dominguez, Renato Capecchi. Francesco
Molinari-Prandelli. 1958. Naples] (Film)
27
ANDREA CHENIER (Umberto Giordano)
[Acts 1 & 2] (48:50) [Franco Corelli,
Celestina Casapietra, Piero Cappuccilli.
Orchestra and Chorus of the RAI
Radiotelevisione Italiana conducted by Bruno
Bartoletti.1973) (Film)
ANDREA CHENIER (Umberto Giordano)
[Acts 2, 3 & 4] (1:02:52) [Franco Corelli,
Celestina Casapietra, Piero Cappuccilli.
Orchestra and Chorus of the RAI
Radiotelevisione Italiana conducted by Bruno
Bartoletti.1973) (Film)
AIDA (Giuseppe Verdi) [Act 1] (38:38) [Vivo
dall´ Arena di Verona 1966 Dir: Franco
Capuana Aida: Leyla Gencer Radames: Carlo
Bergonzi Amneris: Fiorenza Cossotto
Amonasro: Anselmo Colzani Ramfis: Bonaldo
Giaiotti Il Re: Franco Pugliese] (Film)
AIDA (Giuseppe Verdi) [Act 2] (47:4) [Vivo dall
´ Arena di Verona 1966 Dir: Franco Capuana
Aida: Leyla Gencer Radames: Carlo Bergonzi
Amneris: Fiorenza Cossotto Amonasro:
Anselmo Colzani Ramfis: Bonaldo Giaiotti Il
Re: Franco Pugliese] (Film)
AIDA (Giuseppe Verdi) [Act 3] (32:26) [Vivo
dall´ Arena di Verona 1966 Dir: Franco
Capuana Aida: Leyla Gencer Radames: Carlo
Bergonzi Amneris: Fiorenza Cossotto
Amonasro: Anselmo Colzani Ramfis: Bonaldo
Giaiotti Il Re: Franco Pugliese] (Film)
AIDA (Giuseppe Verdi) [Act 4] (31:04) [Vivo
dall´ Arena di Verona 1966 Dir: Franco
Capuana Aida: Leyla Gencer Radames: Carlo
Bergonzi Amneris: Fiorenza Cossotto
Amonasro: Anselmo Colzani Ramfis: Bonaldo
Giaiotti Il Re: Franco Pugliese] (Film)
TOSCA (Giacomo Puccini) [1:52:44] (Film
1955 with italian subtitles Renata Heredia
Capnist, Franco Corelli, Carlo Tagliabue, Dir:
Antonino Votto)
GREAT MOMENTS IN OPERA (1:29:20)
[Renata Tebaldi, Franco Corelli, Anna Moffo,

Lily Pons, Leontyne Price, Robert Merrill,
Beverly Sills, Richard Tucker, Birgit Nilsson,
Jan Peerce, Maria Callas, Joan Sutherland,
Marilyn Horne, Roberta Peters, Eileen Farrell,
Dorothy Kirsten] (Film)
GREAT MOMENTS IN OPERA (1:56:44)
[Great Moments In Opera from "The Ed
Sullivan Show" Leontyne Price - Vissi D'arte -
Tosca 0:13 Roberta Peters - Una Voce Poco
Fa - Il Barbiere di Siviglia 3:45 Robert Merill -
Largo al Factotum - Il Barbiere di Siviglia 8:13
Beverly Sills - O Luce di Quest 'Anima - Linda
Di Chamounix 11:58 Anna Moffo - Il
Regimento - La Fille du Regiment 15:57
Richard Tucker - Vesti La Giubba - I Pagliacci
19:55 Birgit Nilsson - Pace, pace, Mio Dio - La
Forza Del Destino 24:31 Jan Peerce & Robert
Merrill - Alvaro & Carlo's duet - La Forza Del
Destino 29:45 Maria Callas - Vissi D'arte -
Tosca 33:51 Joan Sutherland & Marilyn Horne
- Mira O Norma - Norma 37:44 Roberta Peters
& Robert Merrill - Parigi O Cara, Morir Si
Giovanne - La Traviata 43:52 Joan Sutherland
- Sempre Libera - La Traviata 47:46 Lily Pons
- Gavotte - Mignon 51:00 Dorothy Kirsten - Un
Bel Di - Madama Butterfly 56:20 Renata
Tebaldi & Franco Corelli - Vicino a Te -
Andrea Chenier 1:00:46 Eileen Farrell - Un
Bel Di - Madama Butterfly 1:08:08 Dorothy
Kirsten & Franco Corelli - O Soave Fanciulla -
La Boheme 1:12:26 Joan Sutherland -
Quando Rapita - Lucia di Lammermoor
1:16:24 Eileen Farrell - Pace, pace Mio Dio -
La Forza Del Destino 1:21:45 Roberta Peters
- Waltz - Romeo & Juliet 1:26:33 Joan
Sutherland - Salut ala France - La Fille du
Regiment 1:30:03 Anna Moffo - La Ballatella -
I Pagliacci 1:34:00 Franco Corelli - Tu Lo Sai
1:38:21 Birgit Nilsson - Vissi D'arte - Tosca
1:41:25 Roberta Peters - Bell Song - Lakme
1:44:48 Robert Merrill -selections from Aida,
Traviata and Carmen 1:49:25]
GREAT STARS OF OPERA. Vol. 1 (1:58:40)
[Telecasts from ¨The Bell Telephone Hour¨
(1959-1966) Renata Tebaldi, Franco Corelli,
Giulietta Simionato, Régine Crespin, Victoria
de los Ángeles, Giuseppe Di Stefano, Eileen
Farrell, Nicolai Gedda, George London,
28
Robert Merrill, Anna Moffo, Birgit Nilsson,
Roberta Peters, Leontyne Price, Risë
Stevens, Joan Sutherland, Richard Tucker,
Jon Vickers.]
MADAMA BUTTERFLY (Giacomo Puccini)
[2:07:50] (1956. Conductor: Olivier de
Fabritis .. Cio-Cio San Anna Moffo . Pinkerton
Renato Cioni ... Sharpless Afro Poli ... Suzuki
Miti Truccato Pace ... Gozo Gino Del
Signore ... Kate Pinkerton Lella Dori ... Il
principe Yamadori Pierluigi Latinucci ... Lo zio
Bonzo Dimitri Lopatto ... Il commissario
imperiale Aristide Baracchi) [Film]
RENATA TEBALDI (1955-1959 Recitals)
[1:07:34]
LA BOHEME (Ruggero Leoncavallo) [2:12:32]
(15 febbraio 1958 MARCELLO, pittore DORO
ANTONIOLI (t) RODOLFO, poeta ETTORE
BASTIANINI (br) SCHAUNARD, musicista
WALTER MONACHESI (br) BARBEMUCHE,
letterato ed istruttore del ANTONIO
SACCHETTI (bs/br) VISCONTE PAOLO
GIUSEPPE FORGIONE (br) GUSTAVE
COLLINE, filosofo CURZIO FLEMI (br)
GAUDENZIO, proprietario del caffè Momus }
PIERO DE PALMA (t) DURAND, portinaio IL
SIGNORE, del primo piano } PIER GIOVANNI
FILIPPI (t) UN BECERO MUSETTE, grisette
MAFALDA MASINI (ms) MIMÌ, fiorista
ROSETTA NOLI (s) EUFEMIA, stiratrice
ANNA DI STASIO (ms) Orchestra e coro
TEATRO SAN CARLO DI NAPOLI Direttore
FRANCESCO MOLINARI PRADELLI)
RENATA TEBALDI RECITAL [Rome 1955]
(49:09) [Dir: Alberto Erede 1- Mozart - Le
nozze di Figaro - E Susanna non vien!... Dove
sono i bei momenti 2- Mozart - Le nozze di
Figaro - Porgi amor 3- Refice - Cecilia - Per
amor di Gesù 4- Refice - Cecilia - Grazie,
sorelle 5- Rossini - Guglielmo Tell - Selva
opaca 6- Cilea - Adriana Lecouvreur - Io son l
´umile ancella 7- Cilea - Adriana Lecouvreur -
Poveri fiori 8- Catalani - La Wally - Ne mai
dunque avrò pace 9- Mascagni - Lodoletta -
Flammen, perdonami]

TOSCA (Giacomo Puccini) [1:49:53] (Floria
Tosca: Renata Tebaldi (soprano) Mario
Cavaradossi: Ferruccio Tagliavini (tenor) Il
barone Scarpia: Tito Gobbi (baritone) Cesare
Angelotti: Michael Langdon (bass) Il
sagrestano: Howell Glynne (bass) Sciarrone:
David Tree (tenor) Un carciere: Rhydderch
Davies (baritone) Un pastore: Noreen Berry
(mezzo) The Covent Garden Opera Chorus
and Orchestra/Francesco Molinari-Pradelli
rec. 30 June 1955, Royal Opera House,
Covent Garden. Mono)
ANDREA CHENIER (Umberto Giordano)
[1:57:00] (Live performance by the Wiener
Staatsoper, Vienna, June 26, 1960. Andrea
Chénier - Franco Corelli Maddalena di Coigny
- Renata Tebaldi Carlo Gerard - Ettore
Bastianini Bersi - Margaret Sjostedt La
Contessa di Coigny - Elisabeth Hongen
Madelon - Hilde Konetzni Il Romanziero Pietro
Fleville - Kostas Paskalis Fouquier Tinville,
accusatore pubblico - Ludwig Welter Roucher
- Edmund Hurshell Il Sanculotto Mathieu
called "Populus" - Alois Pernerstorfer L'Abate,
poeta - Fritz Sperlbauer Un "Incredibile" -
Renato Ercolani Schmidt - Andre Koreh
CONDUCTOR: Lovro von Matacic with the
Orchestra and Chorus of the Vienna State
Opera.)
AN EVENING AT THE LYRIC OPERA OF
CHICAGO [42:37] (Renata Tebaldi, Giulietta
Simionato, Ettore Bastianini) [Live Chicago,
1956, Sir Georg Solti Saint-Saens. Samson et
Dalila: Mon coeur s'ouvre à ta voix.--
Tchaikovsky. Eugene Onegin: Tatiana's letter
scene (complete).--Mascagni. Cavalleria
rusticana: Voi lo sapete, o Mama.--Mozart. Le
nozze di Figaro: Voi che sapete.--Giordano.
Andrea Chénier: Nemico della patria.--Boito.
Mefistofele: L'Altra notte, in fondo al mare.--
Ponchielli. La Gioconda: L'Amo come il fulgor
del creato]
LOHENGRIN (Richard Wagner) [3:23:52]
(Placido Domingo(Lohengrin). Leonie
Rysanek (Ortrud). Catarina Ligendza (Elsa).
Meter Wimberger (Heinrich der Vogler).
29
Hermann Becht (Telramund). Dir: Peter
Schneider)
LA CLEMENZA DI TITO (WA Mozart)
[2:21:27] (André Post [Tito Vespasiano]
Claudia Patacca [Vitellia]
Francine van der Heyden [Servilia]
Cécile van de Sant [Sesto]
Nicola Wemyss [Annio]
Marc Pantus [Publio]
Voal Ensmeble Cocu
Musica ad Rhenum
Jed Wentz, conductor)
LUCIA DI LAMMERMOOR (Gaetano
Donizetti) [2:20:32] (Joan Sutherland
(soprano) [Lucia]
Luciano Pavarotti (tenor) [Edgardo]
Sherill Milnes [Enrico]
Nicolai Ghiaurov (bass) [Raimondo]
Ryland Davies [Arturo]
Huguette Tourangeau [Alisa]
Pier Francesco Poli [Normanno]
Chorus and Orchestra of the Royal
Opera House, Covent Garden
Richard Bonynge, conductor)
CATONE IN UTICA (Antonio Vivaldi)
[1:44:11] (Cecilia Gasdia [Cesare]
Marilyn Schmiege [Marzia]
Susanna Rigacci [Arbace]
Margarita Zimmermann [Emilia]
Lucrezia Lendi [Fulvio]
Ernesto Palacio [Catone]
I Solist Veneti
Claudio Scimione, conductor)
SIEGFRIED (Richard Wager) [4:39:06]
(Siegfried - Alberto Remedios
Mime - Gregory Dempsey
Wanderer - Don Garrard
Brünhilde - Rita Hunter
Alberich - Derek Hammond-Stroud
Erda - Anne Collins
Fafner - Clifford Grant
Waldvogel - Valerie Masterson
Sadler's Wells Opera
Reginald Goodall, conductor
3 March 1973, London Coliseum, Live)

KHOVANSHCHINA (Modest Mussorgsky)
[2:50:32] (Aage Haugland (bass) [Prince
Ivan Khovansky]
Vladimir Atlantov [Prince Andrei
Khovansky]
Vladimir Popov [Prince Vasili Golitsyn]
Anatolij Kotscherga [Shaklovity]
Paata Burchuladze [Dosifei]
Marjana Lipovsek (alto) [Marfa]
Brigitte Poschner-Klebel [Susanna]
Heinz Zednik (tenor) [Scribe]
Joanna Borowska [Emma]
Wilfried Gahmlich [Kuzka]
Peter Köves [Strelyets]
Goran Simic [Strelyets]
Peter Köves [Varsonofiev]
Bojidar Nikolov [Confidant of Golitsyn]
Bojidar Nikolov [Streshnev]
Vienna State Opera Concert Chorus
Slovak Philharmonic Choir, Bratislava
Vienna Boys Choir
Vienna State Opera Orchestra
Claudio Abbado, conductor)
PARSIFAL (Richard Wager) [4:43:16]
(Amfortas - Norman Bailey
Titurel - Michael Langdon
Gurnemanz - Louis Hendrikx
Parsifal - Jon Vickers
Klingsor - Donald McIntyre
Kundry - Amy Shuard
Alto Stimme - Anne Howells
Knappe 1 - Nan Christie
Knappe 2 - Delia Wallis
Knappe 3 - David Lennox
Knappe 4 - John Dobson
Blumenmädchen 1 - Kiri Te Kanawa
Blumenmädchen 2 - Anne Howells
Blumenmädchen 3 - Marjorie Biggar
Blumenmädchen 4 - Alison Hargen
Blumenmädchen 5 - Maureen Keetch
Blumenmädchen 6 - Anne Pashley
Ritter 1 - Edgar Evans
Ritter 2 - Dennis Wicks
Covent Garden
Reginald Goodall, conductor
08 May 1971, Royal Opera House,
Covent Garden, London)
30
SAMSON ET DALILA (Camille Saint-
Saens) [2:02:28] (Agnes Baltsa (mezzo-
soprano) [Dalila]
José Carreras (tenor) [Samson]
Jonathan Summers [Le Grand Prêtre]
Simon Estes [Abimelech]
Paata Burchuladze [Un Vieillard Hébreu]
Robert Swensen [Un Messager Philistin]
Donald George Smith [Premier Philistin]
Urban Malmberg (bass) [Deuxième
Philistin]
Bavarian Radio Chorus and Symphony
Orchestra
Colin Davis, conductor)
TEUZZONE (Antonio Vivaldi) [2:38:18] (Paolo
Lopez [Teuzzone]
Raffaella Milanesi [Zidiana]
Delphine Galou [Zelinda]
Roberta Mameli [Cino]
Furio Zanasi [Sivenio]
Antonio Giovannini [Egaro]
Makoto Sakurada [Troncone | Argonte]
Le Concert des Nations
Jordi Savall, conductor)
THE GONDOLIERS (Gilbert & Sullivan)
[2:15:06] (Ted Christopher
Sandra Ross
Gary Moss
Jack Beetle
Nicholas Hartley
Kemper LeCroy-Florin
Sahara Glasener
Anne Marie Frohnmayer
Adam Lloyd
Jessie Wright Martin
Donata Cucinotta
Joseph Valone
Ohio Light Opera Orchestra
J. Lynn Thompson, conductor)
POLIUTO (Gaetano Donizetti) [2:31:03]
(Gabriele Viviani
Josep Fadó
Gregory Kunde
Sondra Radvanovsky
Ruben Amoretti
Alejandro del Cerro.
Orquestra Simfònica i Cor del Gran
 31

Teatre del Liceu. Daniele Callegari, Grimgerde: Dagmar Hermann;  Roßweiße:

conductor) Else Schürhoff;  Wiener Symphoniker)

DON QUICHOTTE (Jules Massenet) TURANDOT (Giacomo Puccini) [1:57:49]

[1:54:59] (Teresa Berganza (mezzo-
soprano) [La belle Dulcinée]
José van Dam (baritone) [Don Quichotte]
Alain Fondary [Sancho Pança]
Isabelle Vernet [Pedro]
Marie-Ange Todorovitch [Garcias]
Christian Papis [Rodriguez]
Nicolas Rivenq (bass) [Juan]
Jean-Claude Barbier [Le chef des
bandits]
Chour et Orchestre du Capitole de
Toulouse
Michel Plasson, conductor)
SIBERIA (Umberto Giordano) [1:39:22]
(Stephana ..... Sonya Yoncheva
(soprano)
Vassili ..... Murat Karahan (tenor)
Gleby ..... Gabriele Viviani (baritone)
Nikona ..... Catherine Carby (mezzo-
soprano)
Girl ..... Anaïs Constant (soprano)
Ivan/Cosack ..... Marin Yonchev (tenor)
Captain/Walinoff/Governor ..... Riccardo
Fassi (bass)
Alexis, Il Sergente ..... Alvaro Zambrano
(tenor)
Miskinsky the banker/Lame man .....
Jean-Gabriel Saint-Martin (baritone)
Inspector ..... Laurent Sérou (bass)
Latvian Radio Chorus
Montpellier Occitanie National Choir
Montpellier Occitanie National Orchestra
Domingo Hindoyan, conductor)
(Joan Sutherland [Turandot]
Luciano Pavarotti [Calaf]
Montserrat Caballé [Liù]
Nicolai Ghiaurov [Timur]
Peter Pears [L'Imperatore Altoum]
Tom Krause [Ping]
Pier Francesco Poli [Pang | Il Principe di
Persia]
Piero de Palma [Pong]
Sabin Markov [Un Mandarino]
John Alldis Choir
Wandsworth Boys' Choir
London Philharmonic Orchestra
Zubin Mehta, conductor)
DIE WALKURE (Richard Wagner)
[3:52:41] (Siegmund - Ramón Vinay
Sieglinde - Birgit Nilsson
Hunding - Josef Greindl
Brünhilde - Astrid Varnay
Wotan - Hans Hotter
Fricka - Georgine von Milinkovic
Gerhilde - Paula Lenchner(-Schmidt)
Ortlinde - Gerda Lammers
Waltraute - Elisabeth Schärtel
Schwertleite - Maria von Ilosvay
Helmwige - Hilde Scheppan
Siegrune - Helena Bader
Grimgerde - Georgine von Milinkovic
Roßweiße - Hetty Plümacher
Bayreuth Festival
Hans Knappertsbusch, conductor
1957, Live recording, Bayreuth,
Germany)

DIE WALKURE (Richard Wagner) IL BARBIERE DI SIVIGLIA (Giovanni

[3:42:40] (Conductor: Rudolf Moralt;  Paisiello) [2:01:47] (Dénes Gulyás
Siegmund: Günther Treptow;  Sieglinde: Hilde [Count Almaviva]
Konetzni;  Wotan: Ferdinand Frantz;  Krisztina Laki [Rosina]
Brünnhilde: Helena Braun;  Hunding: Herbert József Gregor [Bartolo]
Alsen;  Fricka: Rosette Anday;  Gerhilde: István Gáti (baritone) [Figaro]
Judith Hellwig;  Ortlinde: Ester Rethy;  Sándor Sólyom-Nagy [Don Basilio]
Waltraute: Rosette Anday;  Schwertleite: Alice Csaba Réta [Laddie]
Ostrowsky;  Helmwige: Ilona Steingruber;  Miklós Mersei [Sprightly]
Siegrune: Gertrude Burgstaller-Schuster;  Gábor Vághelyi [Notary]
Attila Fülöp [Judge]

Hungarian State Orchestra
Adam Fischer, conductor)
IL BARBIERE DE SIVIGLIA (Gioachino
Rossini) [2:37:26] (Count Almaviva .....
Bogdan Mihai (tenor)
Figaro, the Barber of Seville ..... Bruno
Taddia (baritone)
Rosina ..... Lena Belkina (mezzo-
soprano)  Christian Curnyn, conductor)
Doctor Bartolo, Rosina's guardian .....
Bruno de Simone (bass)
Don Basilio, a music teacher ..... Marco
Spotti (bass)
Berta, Dr Bartolo's servant ..... Mary
Feminear (mezzo-soprano)
Fiorello, Count Almaviva's servant .....
Rodrigo Garcia (baritone)
Ambrogio, Dr Bartolo's servant ..... Peter
Baekeun Cho (bass)
Officer ..... Aleksandar Chaveev (bass)
Chorus of the Grand Théâtre, Geneva
(Chorus Director Alan Woodbridge)
Suisse Romande Orchestra
Jonathan Nott, conductor)
BEATRICE DI TENDA (Vincenzo Bellini)
[2:19:42] (Edita Gruberova [Beatrice di
Tenda]
Vesselina Kasarova [Agnese]
Igor Morosow [Filippo Maria Visconti]
Don Bernardini [Orombello]
Branko Robinsak [Anichino]
Daniel Sumegi [Rizzardo]
Wiener Jeunesse-Chor
ORF-Symphonieorchester
Pinchas Steinberg, conductor)
THE RETURN OF ULYSSES (Claudio
Monteverdi) [2:40:36] (Ulysses / Human
Frailty ..... Roderick Williams (Baritone)
Antinous / Time ..... David Shipley (Bass)
Minerva / Fortune ..... Catherine Carby
(Mezzo-soprano)
Melantho / Love ..... Francesca Chiejina
(Soprano)
Penelope ..... Caitlin Hulcup (Mezzo-
soprano)
Telemachus ..... Samuel Boden (Tenor)
Eurycleia ..... Susan Bickley (Mezzo-
32
soprano
Eumaeus ..... Mark Milhofer (Tenor)
Irus ..... Stuart Jackson (Tenor)
Amphinomus ..... Nick Pritchard (Tenor)
Peisander ..... Tai Oney (Counter-tenor)
Eurymachus ..... Andrew Tortise (Tenor)
The Return of Ulysses Community
Ensemble
Early Opera Company Orchestra
ROMEO ED JULIETTE (Charles Gounod)
[2:58:37] (Roberto Alagna (tenor)
[Roméo]
Angela Gheorghiu (soprano) [Juliette]
José van Dam (baritone) [Frère Laurent]
Marie-Ange Todorovitch [Stéphano]
Simon Keenlyside (baritone) [Mercutio]
Alain Fondary [Capulet]
Claire Larcher [Gertrude]
Daniel Galvez Vallejo [Tybalt]
Guy Flechter [Benvolio]
Didier Henry [Pâris]
Till Fecnher [Grégorio]
Alain Vernhes [Le Duc]
Christophe Fel [Frère Jean]
Anne Constantin [Manuela]
Doris Lamprecht [Pepita]
Yann Beuron [Angelo]
Chœur et Orchestre du Capitole de
Toulouse
Michel Plasson, conductor)
JEPHTHA (GF Handel) [3:24:46] (Jephtha:
IanBostridge
Storgè: Marie-Nicole Lemieux
Iphis: Katherine Watson
Hamor: Tim Mead
Zebul: Philippe Sly
Angel: Valer Sabadus
Chœurs de l'Opéra
Chœur et orchestre Les Arts Florissants
William Christie, conductor
15 January 2018, L'Opéra Garnier, Paris)
SERSE (GF Handel) [2:56:28] (Judith
Malafronte [Serse (Xerxes)]
Jennifer Smith (soprano) [Romilda]
Lisa Milne (soprano) [Atalanta]
Susan Bickley [Amastre]

Brian Asawa [Arsamene]
David Thomas [Elviro]
Dean Ely [Ariodate]
Hanover Band and Chorus
Nicholas McGegan, conductor]
CHANTS D’AUVERGENE (Joseph-Marie
Canteloube) [1:28:57] (Kiri Te Kanawa,
English Chamber Orchestra. Jeffrey Tate)
LE COMTE ORY (Gioachino Rossini)
[3:25:46] (Le Comte Ory: Philippe Talbot
La Comtesse: Julie Fuchs
Isolier: Gaëlle Arquez
Dame Ragonde: Éve-Maud Hubeaux
Le Gouverneur: Patrick Bolleire
Raimbaud: Jean-Sébastien Bou
Alice: Jodie Devos
Comédiens: Laurent Podalydès, Léo
Reynaud
Chœur les éléments
Orchestre des Champs-Elysées
IL RITORNO D’ULISSE IN PATRIA (Claudio
Monteverdi) [2:57:56] (Dominique Visse
[L'Umana Fragilità]
Michael Schopper [Tempo]
Martina Bovet [Amore]
Lorraine Hunt Lieberson (mezzo-
soprano) [Fortuna]
Christoph Pregardien (tenor) [Ulisse]
Bernarda Fink (alto) [Penelope]
Christina Högman [Telemaco]
Martyn Hill [Eumete]
Jocelyne Taillon [Ericlea]
Mark Tucker (tenor) [Anfinomo]
David Thomas [Antinoo]
Guy de Mey (tenor) [Iro]
Faridah Subrata [Melanto]
Jörg Dürgmüller [Eurimaco]
Olivier Lallouette [Giove]
Claron McFadden [Giunone]
Francesca Congiu [Naiadi]
Elisabeth Scholl [Nereidi]
Concerto Vocale
René Jacobs, conductor)
33
LUISA MILLER (Giuseppe Verdi) [2:23:33]
(Bonaldo Giaiotti [Il Conte di Walter]
Luciano Pavarotti [Rodolfo]
Anna Reynolds [Federica]
Richard van Allan [Wurm]
Sherrill Milnes [Miller]
Montserrat Caballé [Luisa]
Annette Céline [Laura]
Fernando Pavarotti [A villager]
London Opera Chorus [Villagers,
attendants of the Duchess, page boys,
soldiers, servants, huntsmen, archers]
National Philharmonic Orchestra
Peter Maag, conductor)
IL RE PASTORE (WA Mozart) [2:01:03]
(Reri Grist [Aminta]
Lucia Popp [Elisa]
Arlene Saunders [Tamiri]
Nicola Monti [Agenore]
Luigi Alva [Alessandro]
Orchestra of Naples
Denis Vaughan, conductor)
REQUIEM (WA Mozart) [50:04] (Christine
Schäfer (soprano) Bernarda Fink (alto)
Kurt Streit (tenor) Gerald Finley (bass)
Arnold Schoenberg Choir Concentus
Musicus Wien Nikolaus Harnoncourt,
conductor)
HERODIADE (Jules Massenet) [2:46:21]
(Cheryl Studer (soprano) [Salomé]
Nadine Denize (mezzo-soprano)
[Hérodiade]
Martine Olmeda [Une jeune
Babylonienne]
Ben Heppner (tenor) [Jean]
Thomas Hampson (baritone) [Hérode]
José van Dam (baritone) [Phanuel]
Marcel Vanaud [Vitellius]
Jean-Philippe Courtis [Le Grand Prêtre]
Jean-Paul Fouchécourt [Une voix dans le
temple]
Chour et Orchestre du Capitole de
Toulouse
Michel Plasson, conductor)

ANDREA CHENIER (Umberto Giordano)
[1:52:49] (José Carreras (tenor) [Andrea
Chénier]
Eva Marton [Maddalena di Coigny]
Giorgio Zancanaro [Carlo Gerard]
Tamara Takács [La Contessa di Coigny]
Tullio Pane [L'Incredibile]
Franco Federici [Jean-Antoine Roucher]
Gábor Vághelyi [Pietro Fleville]
Klára Takács [Bersi]
Istvan Rozsos [L'Abate]
József Gregor [Mathieu]
Éva Farkas [La Vecchia]
Kázmér Sárkány [Dumas]
Tamás Bátor [Antoine Fouquier-Tinville]
János Tóth [Schmidt]
József Moldvai [Maestro di Casa]
Chorus of the Hungarian State Radio and
Television
Children's Choir of the Hungarian State
Opera
Hungarian State Orchestra
Giuseppe Patanè, conductor)
DER CARNEVAL IN ROM (Johann Strauss)
[1:40:24] (Rosl Schwaiger
Kurt Preger
Traute Fayer
Franz Borsos
Franz Emmerich
Hans Stilp
Rudolf Spitz
Hansi Schenk
ORF Symphony Orchestra
Max Schönherr, conductor
1956)
GOTTERDAMMERUNG (Richard Wagner)
[5:12:06] (Brünnhilde - Rita Hunter
Siegfried - Alberto Remedios
Hagen - Aage Haugland
Alberich - Derek Hammond-Stroud
Gunther - Norman Welsby
Gutrune - Margaret Curphey
Waltraute - Katherine Pring
Woglinde - Valerie Masterson
Wellgunde - Shelagh Squires
Floßhilde - Helen Attfield
First Norn - Anne Collins
34
Second Norn - Gillian Knight
Third Norn - Anne Evans
English National Opera
Reginald Goodall, conductor
1977, Live)
L’ETOILE (Emmanuel Chabrier) [1:59:27]
(King Ouf I ..... Christophe Mortagne
(tenor)
Siroco ..... Simon Bailey (bass-baritone)
Prince Hérisson de Porc-Epic .....
François Piolino (tenor)
Tapioca ..... Aimery Lefèvre (baritone)
Lazuli ..... Kate Lindsey (mezzo-soprano)
Princesse Laoula ..... Hélène Guilmette
(soprano)
Aloès ..... Julie Boulianne (mezzo-
soprano)
Patacha ..... Samuel Sakker (tenor)
Zalzal ..... Samuel Dale Johnson
(baritone)
Smith ..... Chris Addison (actor)
Dupont ..... Jean-Luc Vincent (actor)
Royal Opera House Chorus
Royal Opera House Orchestra
Mark Elder, conductor)
LO FRATE ‘NNAMORATO (Giovanni
Battista Pergolesi) [2:40:41] (Alessandro
Corbelli [Marcaniello]
Nuccia Focile [Ascanio]
Amelia Felle [Nena]
Bernadette Manca di Nissa [Nina]
Luciana D'Intino [Luggrezia]
Ezio di Cesare [Carlo]
Elizabet Norber-Schulz [Vannella]
Nicoletta Curiel [Cardella]
Bruno de Simone [Don Pietro]
Luca Bonini [Lo schermidore]
Coro e Orchestra del Teatro alla Scala
Riccardo Muti, conductor)
DAS LAND DES LACHELNS (Franz Lehar)
[1:41:21] (Lisa - Bernadette Antoine
Gustl - Bernard Sinclair
Prince Sou-Chong - Michel Dens
Mi - Sylvia Paule
Tschang - Gilbert Guimay
Choeusr René Duclos
Orchestre de l'Association des Concerts

Lamoureux
Yvon Leenart, 1970)
LES CONTES D’HOFFMANN (Jacques
Offenbach) [3:33:58] (Hoffmann - Neil
Shicoff
Olympia - Luciana Serra
Giulietta - Jessye Norman
Antonia - Rosalind Plowright
Coppélius - José van Dam
Dapertutto - José van Dam
Miracle - José van Dam
Nicklaus - Ann Murray
Spalanzani - Alexander Oliver
Frantz - Robert Tear
Schlemil - Dale Duesing
Crespil - Kurt Rydl
Andres - Robert Tear
Cochenille - Robert Tear
Pitichinacchio - Robert Tear
La Mère d'Antonia - Jocelyne Taillon
Lindorf - José van Dam
Stella - Dinah Bryant
Nathanael - Thierry Dran
Luther - Kurt Rydl
Muse - Ann Murray
Brussels La Monnaie - De Munt Opera
Chorus
Brussels La Monnaie - De Munt Opera
Orchestra
Sylvain Cambreling, conductor
1988)
GIASONE (Francesco Cavalli) [3:11:26]
(Christophe Dumaux
Katarina Bradic
Robin Johannsen
Josef Wagner
Filippo Adami
Yaniv d'Or
Angelique Noldus
Andrew Ashwin
Emilio Pons
35
Flanders Opera Chorus
Flanders Opera Symphony Orchestra
Federico Maria Sardelli, conductor)
EUGENE ONEGIN (Peter Tchaikovsky)
[2:28:56] (Eugene Onegin ..... Dmitri
Hvorostovsky (baritone)
Tatyana ..... Nicole Car (soprano)
Olga ..... Oksana Volkova (mezzo-
soprano)
Lensky ..... Michael Fabiano (tenor)
Madame Larina ..... Diana Montague
(mezzo-soprano)
Filipyevna ..... Catherine Wyn-Rogers
(mezzo-soprano)
Monsieur Triquet ..... Jean-Paul
Fouchécourt (tenor)
Prince Gremin ..... Ferruccio Furlanetto
(bass)
Zaretsky ..... James Platt (bass)
A Captain ..... David Shipley (bass)
Royal Opera Chorus
Orchestra of the Royal Opera House
Semyon Bychkov, conductor)
DALIBOR (Bedrich Smetana) [2:35:27]
(Ivan Kusnher [Vladislav]
Leo Marian Vodicka [Dalibor]
Vratislav Kriz [Budivoj]
Jiri Kalendovsky [Benes]
Miroslav Kopp [Vítek]
Eva Urbanová [Milada]
Jirina Markova [Jitka]
Bohuslav Marsik [Judge]
Chorus of the Prague National Theatre
Orchestra of the Prague National
Theatre
Zdenek Kosler, conductor)
MEFISTOFELE (Arrigo Boito) [2:18:50]
(Samuel Ramey (bass) [Mefistofele]
Plácido Domingo (tenor) [Faust]
Eva Marton [Margherite | Elena]
Sergio Tedesco [Wagner]
Tamara Takács [Marta]
Éva Farkas [Pantalis]
Antal Pataki [Nereo]

Hungaroton Opera Chorus [Celestial
host | Mystic Chorus | Cherubim |
Penitents | Promenaders | Crossbow
Shooters | Huntsmen | Students |
Countrymen | Townsfolk | Burghers |
Witches)
CLEOFIDE (Johann Adolph Hasse)
[3:51:16] (Emma Kirkby
Agnes Mellon
Randalk K. Wong
Derek Lee Ragin
Dominique Visse
David Cordier
Rheinische Kantorei
Cappella Coloniensis
William Christie, conductor)
LIBUSE (Bedrich Smetana) [2:30:20]
(Eva Urbanová [Libuse]
Vratislav Kriz [Premysl of Stadice]
Ludek Vele [Chrudos from Otava]
Jan Markvart [Stahlav from Radbuza]
Miloslav Podskalsky [Lutobor from
Dobroslavsky Chlumec]
Pavel Cervinka [Radovan from the Stone
Bridge]
Helena Kaupova [Krasava]
Miroslava Volkova [Radmila]
Chorus of the Prague National Theatre
Orchestra of the Prague National
Theatre
Oliver Dohnanyi, conductor)
MARIA STUARDA (Gaetano Donizetti)
[2:13:35] (Agnes Baltsa (mezzo-
soprano) [Elisabetta, Regina
d'Inghilterra]
Edita Gruberova [Maria Stuarda, Regina
di Scozia]
36
Iris Vermillion (mezzo-soprano) [Anna
Kennedy]
Francisco Araiza [Roberto, Conte di
Leicester]
Simone Alaimo [Lord Guglielmo Cecil]
Francesco Ellero d'Artegna [Giorgio
Talbot, Conte di Shrewsbury]
Bavarian Radio Chorus
Munich Radio Orchestra
Giuseppe Patanè, conductor)
CARMINA BURANA (Carl Orff) [59:06]
(Sally Matthews
Lawrence Brownlee
Christian Gerhaher
Berlin Radio Chorus
Berlin Philharmonic
Simon Rattle, conductor)
MARGHERITA (Jacopo Foroni) [2:22:39]
(Conte Rodolfo ..... Yuriy Yurchuk
(baritone)
Ser Matteo ..... Matteo d'Apolito
(baritone)
Margherita ..... Alessandra Volpe
(mezzo-soprano)
Ernesto ..... Andrew Stenson (tenor)
Giustina ..... Giuliana Gianfaldoni
(soprano)
Roberto ..... Filippo Fontana (baritone)
Gasparo ..... Ji Hyun Kim (tenor)
Chorus and Orchestra of Wexford
Festival Opera
Timothy Myers, conductor)
GUILLAUME TELL (Gioachino Rossini)
[3:12:22] (Guillaume Tell - Thomas
Hampson
Arnold Melchtal - Giuseppe Sabbatini
Walter Furst - Wojtek Smilek
Melchthal - Walter Fink
Jemmy - Dawn Kotoski
Hedwige - Mihaela Ungureanu
Ruodi - un pêcheur - Mathias
Zachariassen
Leuthold - Yu Chen
Gesler - Egil Silins
Mathilde - Nancy Gustafson
Rodolphe - John Dickie
Un Chasseur - Johannes Gisser

Wiener Staatsoper
Fabio Luisi, conductor
24 October 1998, Vienna)
LA WALLY (Alfredo Catalani) [1:57:54]
(Eva Marton [Wally]
Francesco Ellero d'Artegna
[Stromminger]
Alan Titus [Vincenzo Gellner]
Francisco Araiza [Giuseppe, servo di
Violetta]
Birgit Calm [Afra]
Julie Kaufmann [Walter]
Michele Pertusi [Il Pedone]
Bavarian Radio Chorus
Münchner Rundfunkorchester
Pinchas Steinberg, conductor)
ARMINIO (Henrich Ignaz Franz Biber)
[3:18:05Barbara Schlick (soprano)
[Giulia]
Gotthold Schwarz [Arminio]
Gerd Türk (tenor) [Nerone]
Xenia Meijer [Segesta]
Gerd Kenda [Tiberio]
Bernhard Landauer [Calligola]
Markus Forster [Vitellio]
Hermann Oswald [Germanico]
Otto Ratsbichler [Erchino]
Irena Troupova [Claudia]
Regina Schwarzer [Climmia]
Florian Mehltretter [Seiano]
Salzburger Hofmusik
Wolfgang Brunner, conductor)
RIENZI (Richard Wagner) [3:15:37]
(Rienzi - René Kollo
Irene - Cheryl Studer
Steffano Colonna - Jan-Hendrik Rootering
Adriano Colonna - John Janssen
Peace Herald - Carmen Anhorn
Paolo Orsini - Bodo Brinkmann
Raimondo - Karl Helm
Baroncelli - Norbert Orth
Cecco del Vecchio - Keith Engen
Bayerische Staatsoper
Bayerisches Staatsorchester
Wolfgang Sawallisch, conductor
6 July 1983, Herausgegeben von der
37
Bayerischen Staatsoper, Bayerischen
Rundkunks, Bavaria)
IDOMENEO (WA Mozart) [3:15:10]
(Idomeneo - Werner Hollweg
Idamante - Trudeliese Schmidt
Arbace - Kurt Equiluz
Ilia - Rachel Yakar
Elettra - Felicity Palmer
Gran Sacerdote - Robert Tear
La Voce - Simon Estes
Opernhaus Zürich
Mozartorchester des Opernhauses
Zürich
Nikolaus Harnoncourt, conductor
1980)
DIE KONIGIN VON SABA (Karl Goldmark)
[3:13:54] (Sandor Solyom-Nagy
Jozsef Gregor
Veronika Kincses
Siegfried Jerusalem
Lajos Miller
Klára Takács
Magda Kalmár
Laszlo Bolgar
Hungarian State Opera Chorus
Hungarian Army Male Chorus
Jeunesses Musicales Chorus
Hungarian State Opera Orchestra
Ádám Fischer, conductor)
LA FILLE DU REGIMENT (Gaetano
Donizetti) [1:46:16] (Joan Sutherland
(soprano) [Marie]
Luciano Pavarotti (tenor) [Tonio]
Monica Sinclair [La marquise de
Berkenfield]
Jules Bruyère [Hortensius]
Spiro Malas [Sulpice]
Eric Garrett [Le caporal]
Edith Coates [La duchesse de
Crakentorp]
Alan Jones [Un paysan]
Omar Gorde [Un notaire]
Chorus and Orchestra of the Royal
Opera House, Covent Garden
Richard Bonynge, conductor)
 38

Karl Böhm, conductor

1965, Live)

DIE ENTFUHRUNG AUS DEM SERAIL (WA

Mozart) [2:15:45] (Konstanze - Yvonne DIE FEEN (Richard Wagner) [2:45:37]
Kenny (Ada - Linda Esther Gray
Belmonte - Peter Schreier Arindal - John Alexander
Blonde - Lilian Watson Gernot - Jan-Hendrik Rootering
Pedrillo - Wilfried Gahmlich Gunther - Norbert Orth
Osmin - Matti Salminen Drolla - Cheryl Studer
Bassa Selim - Wolfgang Reichmann Der Feekönig - Kurt Moll
Opernhaus Zürich Ein Bote - Friedrich Lenz
Nikolaus Harnoncourt, conductor Morald - Roland Hermann
1985) Farzana - Kari Lovaas
Zemina - Krisztina Laki
DAS LIEBESVERBOT (Richard Wagner) Lora - June Anderson
[2:35:15] (Friedrich - Hermann Prey Stimme Gromas - Roland Bracht
Luzio - Wolfgang Fassler Harald - Karl Helm
Claudio - Robert Schunk Chor des Bayerischen Rundfunks
Antonio - Friedrich Lenz Sinfonieorchester des Bayerischen
Brighella - Alfred Kuhn Rundfunks
Isabella - Sabine Hass Wolfgang Sawallisch, conductor
Marianna - Pamela Coburn July 1983, Munich)
Dorella - Marianne Seibel
Angelo - Keith Engen PALESTRINA (Hans Pfitzner) [3:21:08]
Danieli - Raimund Grumbach (Mino Yahia
Pontio Pilato - Hermann Sapell Heinz Imdahl
Bayerische Staatsoper Fritz Uhl
Bayerisches Staatsorchester Max Proebstl
Wolfgang Sawallisch, conductor Hans Hotter
9 July 1983, Munich Opernfestspiele, Kurt Böhme
National Theater, Munich) Helmut Krebs
Carl Hoppe
Hans Günter Nöcker
LOHENGRIN (Richard Wagner) [3:14:52] Friedrich Lenz
(Lohengrin - Jess Thomas Karl Ostertag
Elsa - Claire Watson Walther Carnuth
Ortrud - Christa Ludwig August Seider
Friedrich von Telramund - Walter Berry Eberhard Georgi
König Heinrich - Martti Talvela Brigitte Fassbaender
Der Heerrufer des Königs - Eberhard Hanny Steffek
Wächter (Waechter) Albrecht Peter
Wiener Staatsoper Ingeborg Bremert
Wiener Philharmoniker Karl Christian Kohn
 39

Adolf Keil RUSLAN & LUDMILA (Mikhail Glinka)

Richard Holm [3:23:06] (Svetozar - Mikail Kit
Erich Ringel Ludmilla - Anna Netrebko
Dagmar Naaff Ruslan - Vladimir Ognovienko
Bavarian State Opera Chorus Ratmir - Larissa Diadkova
Bavarian State Orchestra Farlaf - Gennadi Bezzubenkov
Joseph Keilberth, conductor Gorislava - Galina Gorchakova
Live, 17 August 1963, Finn - Konstantin Pluzhnikov
Prinzregententheater, Munich Opera Naina - Irina Bogachova
Festival, Munich) Bayan - Yuri Marusin
Kirov Opera
PALESTRINA (Hans Pfitzner) [3:26:18] Valery Gergiev, conductor
(Max Lorenz 1995)
Elisabeth Söderström
Jean Madeira DAS RHEINGOLD (Richard Wagner)
Gottlob Frick [2:31:15] (Wotan: Ferdinand Frantz,
Ferdinand Frantz Alberich: Alois Pernerstorfer, Donner:
Helmut Melchert Angelo Mattiello, Froh: Gunther Treptow,
Otto von Rohr Loge: Joachim Sattler, Mime: Emil
Paul Schöffler Markwort, Fasolt: Ludwig Weber, Fafner:
Hans Herbert Fiedler Albert Emmerich, Fricka: Elisabeth
Peter Klein Hongen, Freia: Walburga Wegener,
Walter Berry Erda: Margret Weth-Falke, Woglinde:
Alfred Poell Magda Gabory, Wellgunde: Margarita
Rudolf Christ Kenney, Flosshilde: Sieglinde Wagner.
August Jaresch Orchestra del Teatro alla Scala di
Waldemar Kmentt Milano. Wilhelm Furtwanger. LIVE, La
Georg Muller Scala. 1950)
Franz Bierbach
DIE WALKURE (Richard Wagner)
Otto Wiener
[3:32:49] (Siegmund: Gunther Treptow,
Walter Ranninger
Hunding: Ludwig Weber, Wotan:
Theo Bayle
Ferdinand Frantz, Sieglinde: Hilde
Karl Gmachl
Konetzni, Brunhhilde: Kirsten Flagstad,
Hildegard Roessl-Majdan
Fricka: Elisabeth Hongen, Helmwige:
Vienna State Opera Chorus
Ilone Steingruber, Gerhilde: Walburga
Vienna Philharmonic Orchestra
Wegener, Orlinde: Karen Marie Crkall,
Rudolf Kempe, conductor
Waltraute: Dagmar Schmedes,
1 August 1955, Salzburg
Rossweisse: Margret Weth-Falke,
Giovanni Pierluigi Palestrina: Max Lorenz Siegrune: Margarita Kenney, Grimgerde:
Ighinio: Elisabeth Söderström Silla: Jean Sieglinde Wagner, Schwertleite: Polly
Madeira Papst Pius IV: Gottlob Frick Giovanni Batic. Orchestra del Teatro alla Scala di
Morone: Ferdinand Frantz Bernardo Milano. Wilhelm Furtwangler. LIVE. La
Novagerio: Helmut Melchert Christoph Scala. 1950)
Madruscht: Otto von Rohr Carlo Borromeo:
Paul Schöffler Anton Brus von Müglitz: Walter DIE MEISTERSINGER VON NURNBERG
Berry Graf Luna: Alfred Poell Bischof Ercole (Richard Wagner) [Highlights] (1:51:51)
Severolus: Otto Wiener Wiener [Hans Sachs: Rudolf Gonszar, Veit
Staatsopernchor – Wiener Philharmoniker Pogner: Georg Stern, Kunz Vogelgesang:
Salzburg August 1st, 1955 Robert Jockel, Konrad Nachtigall:

Richard Otterpohl, Sixtus Beckmesser:
Gerhard Misske, Fritz Kothner: Herbert
Klomser, Balthasar Zorn: Karlheinz
Vogel, Ulrich Eisslinger: Roland Kunz,
Augustin Moser: Ralph Baumann,
Hermann Ortel: Bodo Muller-Grosse,
Hans Schwarz: Jakob Stampfi, Hans Folz:
Richard Hoernicke, Walther von
Stolzing: Karl Liebl, David: Jakob Rees,
Eva: Uta Graf, Magdalene: Anneliese
Schlosshauer, Nachtwachter: Jakob
Stampfi. Orchester und Chor des
Stadtischen Opernhauses Frankfurt. Carl
Bamberger. Frankfurt, 1956]
GOTTERDAMMERUNG (Act 3) [1:19:13]
(Richard Wagner] (Kirsten Flagstad,
Ludwig Suthaus, Josef Greindl, Hilde
Konetzni. RAI Orchestra. Wilhelm
Furtwangler. Rome. 1952)
SIEGFRIED (Richard Wagner) [3:52:36]
(Brunnhilde: Kirsten Flagstad, Siegfried:
Set Svanholm, Mime: Peter Markwort,
Der Wanderer: Josef Herrmann,
Alberich: Alois Pernerstorfer, Fafner:
Ludwig Weber, Erda: Elisabeth Hongen,
Forest Bord: Julia Moor. Orchestra del
Teatro alla Scala di Milano. Wilhelm
Furtwanger. LIVE. La Scala. 1950)
PARSIFAL (Act 3) [Richard Wagner]
(1:17:23) [Parsifal: Carl Hartmann,
Kundry: Elsa Larcen, Amfortas: Hans
Reinmar, Gurnemanz: Ludwig Weber.
Chor und Orchester des Deutschen
Opernhauses, Berlin. Hans
Knappertsbusch. March 1942]
ANTIGONAE (Carl Orff) [2:41:24]
(Antigonae: Inge Borkh, Ismene: Claudia
Hellmann, Kreon: Carlos Alexander, Ein
Wachter: Gerhard Stolze, Hamon: Fritz
Uhl, Tiresias: Ernst Haefliger, Ein Bote:
KimBorg, Eurydice: Hetty Plumacher,
Chorfuhrer: Kieth Engan. Chor des
Bayerischen Rundfunks. Mitglieder des
40
Symphonie-Orchesters des Bayerischen
Rundfunks. Fedinand Leitner)
LES CONTES D’HIOFFMANN (Jacques
Offenbach) [2:55:04] (1992 Philips studio
recording of Jacques Offenbach's "Les contes
d'Hoffmann". Hoffmann: Francisco Araiza La
Muse/Nicklausse: Anne Sophie von Otter
Olympia: Eva Lind Antonia: Jessey Norman
Giulietta: Cheryl Studer
Lindorf/Coppélius/Miracle/Dapertutto: Samuel
Ramey
Cochenille/Frantz/Pitichinacchio/Andres:
George Gautier Nathanael: Peter Menzel
Luther: Rolf Tomaszewski Hermann: Jürgen
Hartfiel Spalanzani: Ricardo Cassinelli
Crespel: Boris Martinovich La Mère d'Antonia:
Felicity Palmer Schlemil: Jean-Luc Chaignaud
Conductor: Jeffrey Tate Staatskapelle
Dresden Chor des Leipziger Rundfunks)
ESCLARMONDE (Jules Massenet) [2:35:33]
(1992 live performance of Jules Massenet's
"Esclarmonde" at the Massenet Festival in
Saint-Étienne. Esclarmonde: Denia Mazzola
Gavazzeni Roland: José Sempere Parséis:
Hélène Perraguin L'Évêque de Blois: Christian
Tréguier L'Empereur Phorcas / Cléomer:
Jean-Philippe Courtis Énéas: Guy Gabelle
Conductor: Patrick Fournillier Symphonic
Orchestra of Budapest Chorus of the
Massenet Festival)
SALOME (Richard Strauss) [1:45:45]
(Salome - Hildegard Behrens
Jochanaan - José van Dam
Herodes - Karl-Walter Böhm
Herodias - Agnes Baltsa
Narraboth - Wieslaw Ochman
Ein Page - Helgä Angervo
Erster Nazarener - Jules Bastin
Zweiter Nazarener - Dieter Ellenbeck
Erster Soldat - Gerd Nienstedt
Zweiter Soldat - Kurt Rydl
Ein Cappadocier - Helge von Bömches
Ein Sklave - Horst Nitsche
Erster Jude - Heinz Zednik
Zweiter Jude - David Knutson
Dritter Jude - Gerhard Unger
Vierter Jude - Martin Vantin

Fünfter Jude - Erich Kun
Wiener Philharmoniker
Herbert von Karajan, conductor
1977-78)
DIDO & AENEAS (Henry Purcell) [56:11]
(Dame Emma Kirkby--Dido Judith Nelson--
Belinda David Thomas--Aeneas Andrew
Parrott--conductor Taverner Choir & Taverner
Players 1981)
PETER GRIMES (Benjamin Britten) [2:19:33]
(Heather Harper--Ellen Jon Vickers--Peter
Grimes Jonathan Summers--Balsrode
Elizabeth Bainbridge--Auntie Sir Colin Davis--
conductor Orchestra of the Royal Opera
House, Covent Garden 1978)
BEATRICE ET BENEDICT (Hector Berlioz)
[1:44:23] (Dame Janet Baker--Béatrice Robert
Tear--Bénédict Christiane Eda-Pierre--Héro
Helen Watts--Ursule Sir Thomas Allen--
Claudio Jules Bastin--Somarone Sir Colin
Davis--conductor London Symphony
Orchestra 1977)
L’ELISIR D’AMORE (Gaetano Donizetti)
[Gösta Winbergh (Nemorino) Barbara Bonney
(Adina) Rolando Panerai (Dulcamara) Bernd
Weikl (Belcore) Antonella Bandelli (Giannetta)
Leone Magiera (Piano) Orchestra e Coro del
Maggio Musicale Fiorentino Gabriele Ferro
(Conductor)
DER WASSERTRAGER (Les Deux Journees)
[Luigi Cherubini] (1:01:32) [Fritz Wunderlich--Il
Conte Armando Hildegard Hillebrecht--
Costanze Marcel Cordes--Micheli Hans
Müller-Kray--conductor Orchestra della Radio
di Stoccarda 1962]
SIMON BOCCANEGRA (Giuseppe Verdi)
[2:19:23] (Tito Gobbi--Simon Boccanegra
Boris Christoff--Jacopo Fiesco Victoria de los
Ángeles--Maria/Amelia Giuseppe Campora---
Gabriele Adorno Gabriele Santini--conductor
Cor e Orchestra del Teatro dell'Opera di
Roma 1957)
IDOMENEO (WA Mozart) [3:07:45] (Nicolai
Gedda (Idomeneo King of Crete)
Adolf Dallapozza (Idamante, his son)
41
Anneliese Rothenberger (Ilia, daughter
of Priam)
Edda Moser (Elettra, daughter of
Agamemnon)
Peter Schreier (Arbace, confidant of the
king)
Eberhard Büchner (Gran Sacerdote)
Theo Adam (La Voce)
Günther Leib (Sacerdote)
Two Cretan Girls: Adele Stolte, Ingeborg
Springer
Due Troiani: Eberhard Büchner, Günther
Leib
Chor Des Leipziger Rundfunks
Staatskapelle Dresden
Hans Schmidt-Isserstedt)
DIE LUSTIGE WITWE (Franz Lehar)
[Hanna Glawari: Rita Zorn, Graf Danilo
Danilowitsch: Karl-Friedrich Holzke,
Valencienne: Ursula Richter, Baron Mirko Zeta:
Hans-Georg Nowotny, Camille de Rosillon: Ernst
Kozub, Vicomte Cascada: Hans-Peter
Schwarzbach, Raoul de St. Brioche: Otto Kopper,
Njegus: Reinhard Kilbel. Chor und Orchester des
Leipziger Rundfunks. Herbert Kegel. 1953.
Leipzig]
KATA KABANOVA (Leos Janacek) [1:42:37]
(Elisabeth Söderström--Kata Peter Dvorsky--
Boris Sir Charles Mackerras--conductor
Wiener Philharmoniker 1978)
DIE WALKURE (Richard Wagner) [3:36:04]
(Hans Hotter--Wotan Astrid Varnay-
Brünnhilde Raméon Vinay--SIegmund Gré
Brouwenstijn--Sieglinde Josef Greindl--
Hunding Joseph Keilberth--conductor
Orchester der Bayreuther Festspiele 1955)
SIEGFRIED (Richard Wagner) [3:47:35]
(Hans Hotter--Wotan Wolfgang Windgassen--
Siegfried Astrid Varnay--Brünnhilde Gustav
Neidliger--Alberich Paul Kuen--Mime Ilse
Hollweg--Forest Bird Joseph Keilberth--
conductor Orchester der Bayreuther
Festspiele 1955)
DIE MEISTERSINGER VON NURNBERG
(Richard Wagner) [4:39:35] (Thomas

Stewart--Sachs Sandor Konya--Walther
Gerhard Unger--David Gundula Janowitz--
Eva Franz Crass--Pogner Thomas Hemsley--
Beckmesser Rafael Kubelik--conductor
Orchester des Bayerischen Rundfunks 1967)
DIE LUSTIGE WITWE (Franz Lehar)
[1:18:53] (Elisabeth Schwarzkopf--Hanna
Nicolai Gedda--Camille Erich Kunz--Danilo
Emmy Loose--Valencienne Otto
Ackermann--conductor Phiharmonia
Orchestra 1953)
DIDO & AENEAS (Henry Purcell) [53:16]
(Susan Graham--Dido Ian Bostridge--Aeneas
Camilla Tilling--Belinda Felicity Palmer--
Sorceress David Daniels--Spirit Emmanuelle
Haïm--conductor Le Concert d'Astrée 2003)
LADY MACBETH POF MTENSK (Dimitri
Shostakovich) [2:36:00] (Maria Ewing--
Katarina Aage Haugland--Boris Philip
Langridge--Zinovi Sergei Larin--Sergei
Kristine Cisinski--Aksinya Kurt Moll--Old
Convict Myung-Whun CHung--conductor
Orchestre & Chorus de l'Opéra Bastille
1992)
LAZARUS (Franz Schubert) [2:11:07]
(Sybilia Rubens--soprano Camilla Nylund--
soprano Simone Nold--soprano Nadja
Michael--alt Scott Weir--tenor Kurt
Azesberger--tenor Christian Vogt--tenor
Matthias Goerne--bass Helmuth Rilling--
conductor Gächinger Kantorei Bach-
Collegium Stuttgart 1996)
MASKERADE (Carl Nielsen) [2:26:12] (Aage
Haugland--Jeronimus Bo Skovhus--Henrik
Susanne Resmark--Magdelone Gert-Henning
Jensen--Leander Ulf Schirmer--conductor
Danish National Radio Symphony Orchestra
1996)
THE BEGGAR’S OPERA (John Gay) [1:19:29
(Sir Peter Pears--Captain Macheath Jennifer
Vyvyan--Jenny Diver Nancy Evans--Polly
Peachum Otokar Kraus--Lockit Benjamin
42
Britten--conductor The English Opera Group
1948; Radio Broadcast Production by Tyrone
Guthrie
================================
"The popularity of Britten’s three chamber
operas proper (The Rape of Lucretia, Albert
Herring and The Turn of the Screw) has
tended to somewhat overshadow his brilliant
adaptation of John Gay’s The Beggar’s
Opera, the realisation of which was completed
in 1948. Indeed, Britten’s harmonisations and
arrangements of the pre-existing tunes, which
he described as ‘among our finest national
songs’, is so personal and idiosyncratic that
the opera sounds like a totally original work.
Despite the longish stretches of spoken
dialogue, Britten brings all his usual
techniques of dramatic characterisation to
bear and binds the work together by effective
use of leitmotif and meaningful key-schemes."
Boosey & Hawkes)
PENELOPE (Gabriel Faure) [1:57:06]
(Josephine Veasey--Pénélope André Turp--
Ulysee Richard van Allan--Eumée Johanna
Peters--Euryclée David Lloyd-Jones--
conductor Chorus & Orchestra Cardiff, Wales
1977)
TURANDOT (Ferruccio Busoni) [1:13:55]
(Josef Protschka--Kalaf Linda Plech--Turando
René Pape--Altoum Gerd ALbrecht--
conductor Radi=Symphonie-Orchester Berlin
1993)
DIDO & AENEAS (Henry Purcell) [49:33]
(Lorraine Hunt Lieberson--Dido Lisa Saffer--
Belinda Michael Dean--Aeneas Nicolas
McGegan--conductor The Choir of Clare
College, Cambridge Philharmonia Baroque
Orchestra 1993)
PELLEAS ET MELISANDE (Claude Debussy)
[2:28:23] (Maria Ewing--Melisande François
Le Roux--Pelléas José van Dam--Golaud
Claudio Abbado--conductor Wiener
Philharmoniker 1982)
CROESUS (Reinhard Keiser: 1674-1739)
[3:08:18] (Roman Trekel--Croesus Dorothea
Röschmann--Elmira Werner Güra--Atis René

Jacobs--conductor Akadamie fur Alte Musik
1999)
L’ORFEO (Claudio Monteverdi) [2:21:27]
(Laurence Dale--Orfeo Efrat Ben-Nun--
Euridice/La Musica Jennifer Larmore--
Messaggiera Bernarda Fink--Prosperina René
Jacobs--conductor Concerto Vocale 1995)
LES TROYENS (Hector Berlioz) [3:58:34]
(Deborah Voigt--Cassandre Françoise Pollet--
Didon Gary Lakes--Énée Gino Quilico--
Chorèbe Charles Dutoit--conductor Orchestre
symphonique de Montréal 1993)
ARIODANTE (GF Handel) [2:59:15] (Anne
Sofie von Otter--Ariodante Lynne Dawson--
Ginevra Ewa Podles--Polinesso Richard
Croft--Lurcanio Marc Minkowski--conductor
Les Musiciens du Louvre 1997)
AGRIPPINA (GF Handel) [3:38:27] (Della
Jones--Agrippina Alastair Miles--Claudio
Derek Lee Ragin--Nerone Donna Brown--
Poppea Michael Chance--Ottone Anne Sofie
von Otter--Giuonone John Eliot Gardner--
conductor English Baroque Solists 1997)
BORIS GODUNOV (1872 Version) [Modest
Mussorgsky] (3:05:43) [Vladimir Vaneev--
Boris Godunov Vladimir Galusin--Grigory
Nikolai Ohotikov--Pimen Olga Borodina--
Marina Valery Gergiev--conductor Kirov
Opera & Orchestra Marinsky Theater 1998]
DON GIOVANNI (WA Mozart) [2:45:31]
(Håkan Hagegård--DOn Giovanni Gilles
Cachemaille--Leperello Della Jones--DOnna
Elvira Arleen Augér--Donna Anna Barbara
Bonney--Zerlina Arnold Östman--conductor
The Drottningholm Court Theatre Orchestra
1989 =============================
"...the voices of Hakan Hagegard and Gilles
Cachemaille reveal their own clear profiles.
Cachemaille's Leporello swings from coiled
resentment to urbane dignity and back again.
His saturnine Catalogue song is a
masterpiece of understatement (to say
nothing of breath control); Cachemaille's
baritone is smooth-honed enough to express
the considerable pride of this Leporello..The
voracious and volatile energy of Hagegard's
43
Giovanni, at times nicely raw and rough-
edged, does not exclude an extraordinary
lightness and suavity of phrasing. .. One really
catches one's breath, though, in ''La ci
darem''. His voice lightens to match exactly
that of Barbara Bonney...Auger every chance
to revel in the legato and subtle shading of
line at which she is expert..Della Jones
realizes to a nicety Ostman's perception of the
Prague Donna Elvira: more of a deft comic
actor-singer than a femme fatale. What is
more, the particular pungency of the mezzo's
high notes add a telling shadow of wistfulness
to her ''Ah chi mi dice mai'', helped by little
inflexions of judiciously placed ornament. Lest
anyone should feel cheated by the exclusion
of ''Mi tradi'', Ostman includes this on a
separate disc within 27 minutes' worth of
additions and alternatives written by Mozart
for Vienna." Gramophone)
ARLECCHIONO (Ferruccio Busoni) [1:07:08]
(René Pape--Ser Matteo del Sarto Robert
Wörle--Arlecchino Peter Matic--Speaker
Siegfried Lorenz--Abbate Peter Lika--Dottor
Bombasco Marcia Bellamy--Colombina Gerd
Albrecht--conductor Radio-Symphonie-
Orchester Berlin 1994)
HANSEL UND GRETEL (Engelbert
Humperdinck) [1:43:26] (Ann Murray (Hänsel),
mezzo-soprano Edita Gruberova (Gretel),
soprano Franz Grundheber (Peter), baritone
Gwyneth Jones (Gertrud), soprano Christa
Ludwig (Witch), mezzo-soprano Barbara
Bonney (Sandmännchen), soprano Christiane
Oelze (Taumännchen), soprano Women's
Chorus of the Dresden State Opera Chorus,
Kinderchor der Staatsoper Dresden
Staatskapelle Dresden, Conducted by Colin
Davis 1992)
Anton Bruckner. MASS No. 1 in d minor
(46:42) [Edith Mathis--soprano Marga
Schiml--contralto Wiueslaw Ochmann--
tenor Karl Ridderbusch--bass Eugen
Jochum--conductor Chor und
Symphonieorchester des Bayerischen
Rundfunks 1963]

PELLEAS ET MELISANDE (Claude
Achille Debussy) [2:34:09] (Direttore
d'orchestra.............Rafael Kubelik
Pelléas...................................Nicolai Gedda
Mélisande..............................Helen Donath
Golaud...................................Dietrich Fischer-
Dieskau Arkel......................................Peter
Meven Le petit Yniold.......................Walter
Gampel Un médecin..........................Raimund
Grumbach
Geneviève.............................Marga Schiml Le
berger...............................Josef Weber Chor
und Symphonieorchester des Bayerischen
Rundfunks Herkusesaal der Münchner
Residenz Münich - 16/17 novembre 1971)
GUGLIELMO TELL (Gioachino Rossini)
[3:58:45] (Direttore d'orchestra...........Ricardo
Muti Maestro del coro.................Roberto
Gabbiani
Guglielmo............................Siegmund
Nimsgern Arnoldo Melcthal................Franco
Bonisolli Gessler................................Luigi
Roni Matilde................................Katia
Ricciarelli Melcthal..............................Mario
Rinaudo Jemmy................................Renata
Baldiserri Hedwige..............................Bianca
Maria Casoni Gualtiero
Furst....................Agostino Ferrin
Rodolfo...............................Pier Francesco
Poli Il pescatore Ruodi..............Vittorio
Terranova Leuthold.............................Giorgio
Giorgetti Orchestra e coro del Teatro
Comunale di Firenze Firenze - 30 dicembre
1976)
LUCIA DI LAMMERMOOR (Gaetano
Donizetti) [1:53:08] (Direttore
d'ochestra..................Carlo Franci Lucia
Ahston.............................Cristina Deutekom
Edgardo di Ravenswood...........Luciano
Pavarotti Enrico
Ashton............................Domenico Trimarchi
Raimondo Bidebent..................Silvano
Pagliuca Lord Arturo Bucklaw.................Bruno
Sebastian Normanno.................................?
Alisa...........................................? Orchestra e
coro del Teatro San Carlo di Napoli Napoli - 2
maggio 1970)
44
MADAMA BUTTERFLY (Giacomo Puccini)
[2:06:55] (Direttore d'orchestra........Berislav
Klobučar Cio-Cio San.......................Sena
Jurinac Pinkerton..........................Ermanno
Lorenzi Sharpless..........................Kostas
Paskalis Suzuki...............................Hilde
Rössel-Majdan Kate
Pinkerton.................Gundula Janowitz
Goro..................................Peter Klein Il
principe Yamadori.........Karl Weber Lo zio
Bonzo.....................Alois Pernerstorfer Un
commissario...............Harald Pröglhöf Chor
und orchester der Wiener Staatsoper Wiener
Staatsoper Vienna - 25 marzo 1961)
WALANG SUGAT (2:08:27) [music by
Fulgencio Tolentino words by Severino Reyes
additional music by Constancio de Guzman,
Mike Velarde, and Chino Toledo Orchestration
by Chino Toledo Philippine Philharmonic
Orchestra conducted by Chino Toledo CAST:
Julia -- Carla Solliven Tenyong -- Bimbo
Cerrudo Joana -- Irma Potenciano Monica --
Johanna Cabili Padre Teban -- Dante Balois
Tadeo -- Gamaliel Viray Miguel -- Pablo
Molina Lucas -- Joji Isla]
MEDEA IN CORINTO (Giovanni Simone
Mayr) [2:27:03] (Direttore
d'orchestra.......Newell Jenkins
Medea..............................Marisa Galvany
Giasone............................Allen Cathcart
Egeo.................................Robert White
Creonte............................Thomas Palmer
Creusa.............................Joan Patenaude
Ismene.............................Molly Stark Clarion
Concerts Orchestra and Chorus New York,
1969)
LUCIA DI LAMMERMOOR (Gaetano
Donizetti) [1:54:54] (This is a complete version
of the 1947 published film of Lucia Di
Lammermoor. I believe that this is a
remarkable film, due to the appearance of
great singers like Mario Filippeschi, Nelly
Corradi, Afro Poli and others. The quality was
all in all surprisingly good for a recording of
1947. Nevertheless, there were some
problems that harmed the overall quality. I did
nothing on the video quality, only on the

audio. Conductor - Oliviero De Fabritis Lucia -
Nelly Corradi Edgardo - Mario Filippeschi
Enrico Ashton - Afro Poli Arturo Bucklaw -
Aldo Ferracuti Raimondo - Italo Tajo) [Film]
Ludwig van Beethoven. THE CREATURES
OF PROMETHEUS (A Concert Suite in Four
Movements & Overture – Concert Version
Orchestre de Chambre Pelléas Benjamin
Levy, conductor Concertgebouw Amsterdam,
9 August 2014 A Green Room Creatives
Production 00:59 I – Overture 05:53 I –
Introduction ‘La Tempesta’ 08:05 I – No.1
11:31 II – No.9 15:17 II – No.10 ‘Pastorale’
17:43 II – No.12 ‘Solo di Gioja’ 20:11 III –
No.14 ‘Solo della Signora Cassentini’ 25:35 IV
– No.18, Marchia 29:20 IV – No. 16 ‘Finale’
36:20 – The Creatures of Prometheus,
Overture – Concert Version) [Video]
Ludwig van Beethoven. LEONORE
OVERTURE No. 3 (Leonore Overture Nº 3 in
C major, Op. 72b The Amnesty International
Concert Orchestra: Bavarian Broadcast
Symphony Orchestra Venue: Munich,
Germany. Date: 17/10/1976 Ludwig van
Beethoven (1770 - 1827) Leonard Bernstein
(1918 - 1990) [Video]
Peter Tchaikovsky. CAPRICCIO ITALIEN (P.I.
Tchaikovsky: Capricho italiano op.45
Orquesta Sinfonica de Galicia Jesús López
Cobos, director) [Video]
Peter Tchaokovsky. MARCHE SLAVE (Pyotr
Ilych Tchaikovsky: Marche Slave Op. 31
Conductor: Cesar Iván Lara Simón Bolívar
Concert Hall, Caracas, Venezuela.) [Video]
Peter Tchaikovsky. 1812 OVERTURE (Banda
Simfònica d'Algemesí, al concert de la Nit del
Retorn celebrat el 6 de setembre de 2016 al la
Plaça Major d'Algemesí. Conductor: Alberto
Ferrer i Martínez) [Video]
Johann Sebastian Bach. EASTER
ORATORIO (Easter Oratorio, BWV 249
(1725, 1735, 1740) i. Sinfonia ii. Adagio iii.
Aria. Kommt, eilet und laufet iv. Recitativo. O
kalter Männer Sinn v. Aria. Seele, deine
Spezereien vi. Recitativo. Hier ist die Gruft vii.
Aria. Sanfte soll mein Todeskummer viii.
45
Recitativo. Indessen seufzen wir ix. Aria.
Saget, saget mir geschwinde x. Recitativo.
Wir sind erfreut xi. Chorus. Preis und Dank
Hannah Morrison, soprano Meg Bragle,
mezzo-soprano Nicholas Mulroy, tenor Peter
Harvey, bass Monteverdi Choir English
Baroque Soloists Conductor: John Eliot
Gardiner London, Proms 2013) [Video]
DIE TOTE STADT (Erich Korngold) [Berlin
1983 Paul: James King Marietta: Karan
Armstrong Frank / Fritz: William Murray
Brigitta: Margit Neubauer Deutschen Oper
Berlin Heinrich Hollreiser] (Video)
Ludwig van Beethoven. CHORAL FANTASY
(Martha Argerich, Seiji Ozawa) [Video]
Ludwig van Beethoven. CORIOLAN
OVERTURE (Vienna Philharmonic. Leonard
Bernstein) [Video]
Ludwig van Beethoven. PIANO CONCERTO
No. 4 in G major (Helene Grimaud. Christoph
Eschenbach) [Video]
Gustav Mahler. KINDERTOTENLIEDER
(Audio with Score) [Composer: Gustav Mahler
(7 July 1860 -- 18 May 1911) - Orchestra:
Wiener Philharmoniker - Conductor: Leonard
Bernstein - Soloist: Thomas Hampson
(baritone) - Year of recording: 1988
Kindertotenlieder (Songs on the Death of
Children) is a song cycle for voice and
orchestra, written between 1901-1904, with
words from poems by Friedrich Rückert. 00:00
- I. Nun will die Sonn' so hell aufgeh'n 06:05 -
II. Nun seh' ich wohl, warum so dunkle
Flammen 11:14 - III. Wenn dein Mütterlein
17:16 - IV. Oft denk' ich, sie sind nur
ausgegangen! 20:46 - V. In diesem Wetter, in
diesen Braus The original Kindertotenlieder
were a group of 428 poems written by Rückert
in 1833--34 in reaction to the illness (scarlet
fever) and death of two of his children. Karen
Painter, associate professor of musicology at
the University of Minnesota, describes the
poems thus: "Rückert's 428 poems on the
death of children became singular, almost
manic documents of the psychological
endeavor to cope with such loss. In ever new

variations Rückert's poems attempt a poetic
resuscitation of the children that is punctuated
by anguished outbursts. But above all the
poems show a quiet acquiescence to fate and
to a peaceful world of solace." Apparently,
these poems were not intended for
publication. Mahler selected five of Rückert's
poems to set as Lieder, which he composed
between 1901 and 1904. The songs are
written in Mahler's late-romantic idiom, and
like the texts reflect a mixture of feelings:
anguish, fantasy resuscitation of the children,
resignation. The final song ends in a major
key and a mood of transcendence. The cello
melody in the postlude to "In diesem Wetter,
in diesem Braus" (mm. 129 - 133) alludes to
the first subject of the finale of Mahler's Third
Symphony (1895/1896), a movement titled
"What love tells me" ("Was mir die Liebe
erzählt"). "Musically, then, this is the last word
of the Kindertotenlieder: that death is
powerful, yet love is even stronger." The
composer wrote, concerning the performance
of the work, "these five songs are intended as
one inseparate unit, and in performing them
their continuity should not be interfered with".
The Kindertotenlieder were premiered in
Vienna on 29 January 1905. Friedrich
Weidemann, a leading baritone at the Vienna
Court Opera, was the soloist, and the
composer conducted. The poignancy of the
cycle is increased by the fact that four years
after he wrote it, Mahler lost his daughter,
Maria, aged four, to scarlet fever. He wrote to
Guido Adler: "I placed myself in the situation
that a child of mine had died. When I really
lost my daughter, I could not have written
these songs any more.")
IL TROVATORE (Giuseppe Verdi) [2:18:11]
(Dame Joan Sutherland--Leonora Luciano
Pavarotti--Manrico Marulyn Horne--Azucena
Ingvar Wixell--Il Conte Richard Bonynge--
conductor National Philharmonic Orchestra
1977)
I PAGLIACCI (Ruggero Leoncavallo) [1:10:50]
(Mario Del Monaco--Canio Gabriella Tucci--
Nedda Cornell MacNeil--Tonio Piero de
Palma--Beppe Renato Capecchi--Silvio
46
Francesco Molinari-Pradelli--conductor
Orchestra dell' Accademia di Santa Cecilia,
Roma 1959)
MADAMA BUTTERFLY (Giacomo Puccini)
[2:34:13] (Mirella Freni--Madama Butterfly
José Carreras--Pinkerton Teresa Berganza--
Sukuki Juan Pons--Sharpless Giuseppe
Sinopoli--conductor Philharmonia Orchestra
1987)
CAVALLERIA RUSTICANA (Pietro
Mascagni) [1:16:20] (Mario Del Monaco--
Turridu Giulietta Simionato--Santuzza
Cornell MacNeil--Alfio Tullio Serafin--
conductor Orchestra dell' Accademia di
Santa Cecilia, ROma 1960)
LA BOHEME (Giacomo Puccini) [1:57:44]
(Angelina Réaux--Mimì Jerry Hadley--Rodolfo
Barbara Daniels--Muesetta James Busterud--
Schnaunard Paul Plishka--Colline Leonard
Bernstein--conductor Orchestra
dell'Accademia Nazionale dei Santa Cecilia
1987)
DIE AGYPTISCHE HELENA (Richard
Strauss) [2:08:4] (Dame Gwyneth Jones--
Helena Matti Kastu--Meneleas Dinah Bryant--
Hermione Barbara Hendricks--Aithra Willard
White--Altair Antal Dorati--conductor The
Kenneth Jewell Chorale The Detroit
Symphony Orchestra 1979)
ELEKTRA (Richard Strauss) [1:30:31] (Anny
Konetzni--Elektra Martha Mödl--Klytemnestra
Hans Braun--Oreste Dmitri Mitropoulos--
conductor Orchestra Stabile e Coro del
Maggio Musicale Fiorentino 1951)
DIE FLEDERMAUS (Johann Strauss II)
[2:47:12] (Gabriel von Eisenstein: Kurt Streit
Rosalinde: Michaela Kaune Frank: Alfred
Šramek Prinz Orlofsky: Zoryana Kushpler
Alfred: Rainer Trost Dr. Falke: Markus Eiche
Dr. Blind: Peter Simonischek Adele: Daniela
Fally Ida: Lydia Rathkolb Frosch: Peter
Jelosits Chorus: Choir of the Wiener
Staatsoper Orchestra: Orchestra of the
Wiener Staatsoper Music: Johann Strauss
 47

Text: Richard Genée and Karl Haffner Concerto In C Minor, RV 509 29:35 Concerto
Conductor: Franz Welser-Möst Director: Otto In G Major, RV 516 38:41 Concerto In D
Schenk) Minor, RV 514 47:48) [Jean-Pierre Rampal,
flute; Isaac Stern, violin] 1989
WA Mozart. HORN CONCERTOS (1. Horn-
Concerto#1 (0:00) 2. Horn-Concerto#2 (8:58) Johann Sebastian Bach. CONCERTO in A major
3. Horn-Concerto#3 (23:05) 4. Horn-
for Oboe d’Amore (Concerto in A-dur for Oboe
Concerto#4 (38:41) [Barry Tuckwell, French
d`amore, Strings and Basso Cintinuo BWV
Horn. Peter Maag. 1959-1961]
1055 I. Allegro II. Larghetto III. Allegro ma non
George Frederick Handel. TRUMPET tanto Soloist - Alexey Utkin Oboe Conductor
CONCERTOS (Including the Rarest Ones) Andres Mustonen The State Academic
[01. Concerto in B flat major HWV301 00:00 Chamber Orchestra of Russia (2018) [Video]
Adagio Allegro Siciliana Vivace 02. Concerto
ELEKTRA (Richard Strauss) & DIE
in G minor HWV287 06:58 Grave Allegro
WALKURE (Excerpts). 00:00 Inge Borkh as
Sarabande Allegro 03. Concerto in D major
Sieglinde 10:22 Elektra's Monologue 19:29
HWV341 15:24 Overture Allegro Air March 04.
Scene with Klytemnestra 35:55 Scene with
Suite for trumpet, oboes & orchestra 25:21
Orest 42:30 Death of Klytemnestra, Aegisth
Allegro Rigaudon Aria anglése Sarabande
and Elektra Inge Borkh, Elektra Leonie
Hornpipe Menuet Gigue 05. Concerto in D
Rysanek, Chrysothemis Jean Madeira,
minor HWV367a 42:12 Largo Vivace Furioso
Klytemnestra Hermann Uhde, Orest Ramon
Adagio Alla breve 06. Concerto for two
Vinay, Aegisth Others: Norman Scott Mary
trumpet & orchestra in D major HWV335
Fercana Athena Vicos Robert Nagy Edward
51:35 Largo Allegro Allegro ma non troppo
Ghazal Maids: Thelma Votipka Mignon Dunn
Maurice Andre Hedwig Bilgram Roger
May MacKenzie Carlotta Ordassy Margaret
Delmotte Hermann Scherchen Karl Richter
Roggero Teresa Stratas Live performance 25
Robert King Arthur Haneuse Wiener
March 1961 (Includes excerpts of Inge Borkh
Staatsoper King Consort Münchener Bach
as Sieglinde)
Orchester]
ELEKTRA (Richard Strauss) [Excerpts] (00:00
WA Mozart. COMPLETE FLUTE QUARTETS
Elektra's Monologue 10:06 Scene with
1. Quartet in D major K. 285 I. Allegro (at
Chrysothemis 12:00 Scene with Klytemnestra
0:10) II. Adagio (at 6:58) III. Rondeau: Allegro
31:07 Scene with Orest 39:00 Death of
(at 9:21) 2. Quartet in G major K. 285a I.
Klytemnestra, Aegisth and Elektra Gwyneth
Andante (at 13:49) II. Tempo di Menuetto (at
Jones, Elektra Anne Evans, Chrysothemis
21:39) 3. Quartet in C major K. 285b I. Allegro
Leonie Rysanek, Clytemnestra Wolfgang
(at 24:59) II. Andantino (Theme & 6
Schone, Orest Ronald Hamilton, Aegisth
Variations) (at 30:25) 4. Quartet in A major K.
Chorus of Geneva Grand Theater, Jean
298 I. Andantino (Theme & 4 Variations) (at
Laforge Orchestre de la Suisse Romande,
41:01) II. [Menuetto]; Trio (at 46:53) III.
Jeffrey Tate)
Rondieaoux: Allegretto (at 49:11) JEAN-
PIERRE RAMPAL, flute ISAAC STERN, violin LES CONTES D'HOFFMANN (Jacques
SALVATORE ACCARDO, viola MSTISLAV Offenbach) [Direttore d'orchestra: Maximiano
ROSTROPOVICH, cello Recorded at Studio Valdés Hoffmann : Alain Vanzo Lindorf,
Clé d' Ut, Paris, 1986 Vinyl LP released in Coppelius, Dappertutto, Dr. Miracle : Michael
1987) Devlin Olympia : Beverly Hoch Antonia :
Christine Weidinger Giulietta : June Card
Antonio Vivaldi. DOUBLE CONCERTOS FOR
Nicklausse : Judith Forth Andrès, Cochenille,
VIOLIN & FLUTE (Concerto In G Minor, RV
Frantz, Pitchinaccio : Michel Sénéchal
517 0:00 Concerto In D Major, RV 512 8:51
Crespel : David Wilson-Johnson La mère
Concerto In B-Flat Major, RV 524 19:06

d'Antonia : Jocelyne Taillon Spalanzani :
Jean-Christophe Benoît Schlémil : Armand
Arapian Luther : Philippe Chassel Nathanaël :
Jean-Louis Sans Hermann : Philippe Bohé
Orchestre National de France, chœurs de
Radio France Radio France Paris Paris - 17
aprile 1985]
DIE WALKURE (Richard Wagner)
[Brünnhilde: Birgit Nilsson Siegmund: Jon
Vickers Hunding: David Ward Wotan: George
London Sieglinde: Gré Brouwenstijn Fricka:
Rita Gorr and Noreen Berry, Marie Collier,
Joan Edwards, Margreta Elkins, Maureen
Guy, Julia Malyon, Judith Pierce, Josephine
Veasey London Symphony Orchestra / Erich
Leinsdorf]
DIE WALKURE (Richard Wagner) [Act 1
Excerpts] (Birgit Nilsson--Siegliende Set
Svanholm--Siegmund Josef Greindl--Hunding
Hans Schmidt-Isserstedt--Conductor
Sinfonieorchester des NDR Rundfunks,
Hamburg 1953)
BORIS GODUNOV (Modest Mussorgsky) [2nd
Version by Mussorgsky] (Direttore
d'orchestra................Thomas Schippers Boris
Godunov..........................Martti Talvela
Principe Vasilij Šujskij..............Robert Nagy
Pimen........................................Paul Plishka
Grigorij......................................Harry Theyard
Marina Mniszech ....................Mignon Dunn Il
gesuita Rangoni....................William Dooley
Varlaam....................................Donald Gramm
Simpleton.................................Andrea Velis
Nikitič.......................................Andrij
Dobriansky
Mitjucha...................................Edmond
Karlsrud Shchelkalov..............................Lenus
Carlson L'ostessa della alocanda.........Batyah
Godfrey Ben-David
Misail........................................Paul Franke
Un ufficiale di polizia...............Richard Best
Ksenija.....................................Betsy Norden
Fëdor........................................Paul
Offenkrantz Una
nutrice..............................Cynthia Munzer
Chruščov.................................Robert Schmorr
Lavickij....................................Robert Goodloe
48
Chernikovsky..........................William Mellow
Un boiardo..............................Robert Schmorr
Metropolitan Opera House Chorus &
Orchestra Metropolitan Opera House New
York - 25 gennaio, 1975)
The opening concert of 1990 Prague Spring
International Music Festival on 12th May 1990
at Smetana Hall in Prague. Bedřich Smetana
(1824-1884): Fanfares from the Opera
"Libuše" National Anthem of Czechoslovakia
(combination of Kde domov můj (Czech) and
Nad Tatrou sa blýska (Slovak)) Bedřich
Smetana: Má vlast (My Country) 1. Vyšehrad
2. Vltava (Die Moldau) 3. Šárka 4. Z českých
luhů a hájů 5. Tábor 6. Blaník Česká
filharmonie (Czech Philharmonic) Rafael
Kubelík [Video]
Bedrich Smetana. MA VLAST (HD, At NHK
Hall, Tokyo, 2015 Conductor - Jiří Bělohlávek)
[Video]
LEO NUCCI. BEL CANTO ARIAS (1. I
puritani: Ah, per sempre io ti perdei by
Vincenzo Bellini  2. Guillaume Tell: Sois
immobile by Gioachino Rossini  3. Il pirata: Si,
vincemmo e il pregio lo sento by Vincenzo
Bellini  4. I vespri siciliani: In braccio alle
dovizie by Giuseppe Verdi  5. Beatrice di
Tenda: Rimorso in lei?...Qui m'accolse
oppresso by Vincenzo Bellini  6. Poliuto: Di
tua beltade immagine by Gaetano Donizetti  7.
Il Duca d'Alba: Nei miei superbi gaudi by
Gaetano Donizetti  8. Dom Sébastien: O
Lisbona, alfin ti miro by Gaetano Donizetti  9.
La Favorita: Vien, Leonora, a piedi tuoi by
Gaetano Donizetti) [English Chamber
Orchestra. Gianfranco Masini]
MIRELLA FRENI & NICOLAI GHIAUROV.
Moscow Concert (2002) [1:01:34] (1. La
Traviata - Overture 2. Verdi - Don Carlos 3.
Alfano - Risurrezione 4. Massenet - Don
Quichotte 5. Tchaikovsky - The Maid of
Orleans 6. Tchaikovsky - Eugene Onegin 7.
Puccini - Gianni Schicchi 8. Khrennikov - The
Song of Drunkards 9. Mozart - Don Giovanni)
[Video]

MARIA CHIARA (Tokyo Concert. 1990)
[1:17:47] (Verdi: Ecco l'orrido campo / Un
ballo in maschera Verdi: Danza (orchestra) /
Aida Verdi: Ritorna vincitor / Aida Verdi:
Overtura (orchestra) / La forza del destino
Verdi: Pace, pace, mio dio / La forza del
destino Puccini: In quelle trine morbide /
Manon Lescaut Puccini: Un bel dì vedremo /
Madama Butterfly Puccini: Overtura II
(orchestra) / Le Villi Puccini: Vissì d'arte, vissì
d'amore / Tosca Catalani: Ebben, ne andro
lontana / La Wally Cilea: Ecco respiro
appena / Adriana Lecouvreur)
RENATA SCOTTO (2 Concerts) [1:29:00] (In
concert: Festival dnaudiere, 21,8,1986 Verdi:
OTELLO, Salce, salce....Ave Maria
MACBETH, Nel dì di vittoria... Vieni, t'affretta
DON CARLO, Tu che le vanità Puccini: LE
VILLI, Se come voi piccina Catalani: LA
WALLY, Ebben, ne andrò lontana Puccini:
MANON LESCAUT, Sola, perduta,
abbandonata TOSCA, Vissi d'arte GIANNI
SCHICCHI, O mio babbino caro ■In opera:
Sep. 1967, Tokyo DONIZETTI, Lucia di
Lammermoor Regnava nel silenzio Il dolce
suono.... Ardon gli incense)
RENATA SCOTTO (Tokyo Recital, 1984)
[1:38:12] (Händel: RINALDO, Lascia ch'io
pianga Scarlatti: Cara e dolce...Bellezza che
s'ama Rossini: La Promessa La Pastorella
Verdi: La preghiera del poeta Al tuo bambino
Il Brigiden E la vita un mar d'affanni Pietà,
Signor Stornello DON CARLO, Tu che le
vanità Liszt: Sonetti di Petrarca Pace non
trovo Io vidi in terra angelici costumi Respighi:
Soupir Au milieu de jardin Sole e amore
Puccini: EDGAR, Nel villaggio d'Edgar
Mascagni: ZANETTO, Senti, bambino Puccini:
TOSCA, Vissi d'arte Mascagni: M'ama, non
m'ama Puccini: MADAMA BUTTERFLY, Tu?
Tu?.. piccolo Iddio! Rossini: La danza)
LE NOZZE DI FIGARO (WA Mozart) [3:08:57]
(Figaro – GERALD FINLEY Susanna –
ALISON HAGLEY The Countess – RENEE
FLEMING Count Almaviva – ANDREAS
SCHMIDT Cherubino – MARIE-ANGE
TODOROVITCH THE LONDON
49
PHILHARMONIC ORCHESTRA THE
GLYNDEBOURNE CHORUS Conductor –
BERNARD HAITINK) [Video]
LE NOZZE DI FIGARO (WA Mozart) [Acts
1&2] (1:48:45) [Conductor: Nikolaus
Harnoncourt Il Conte di Almaviva - Dmitri
Hvorostovsky La Contessa di Almaviva -
Solveig Kringelborn, Susanna - Dorothea
Röschmann, Figaro - Bryn Terfel Cherubino -
Susan Graham, Marcellina - Trudeliese
Schmidt, Bartolo - Donato di Stefano, Basilio -
Scot Weir, Don Curzio - Steve Davislim,
Barbarina - Katharina Mooslechner, Antonio -
Lynton Black.)
LE NOZZE DI FIGARO (WA Mozart) [Acts
3&4] (1:25:47) [Conductor: Nikolaus
Harnoncourt Il Conte di Almaviva - Dmitri
Hvorostovsky La Contessa di Almaviva -
Solveig Kringelborn, Susanna - Dorothea
Röschmann, Figaro - Bryn Terfel Cherubino -
Susan Graham, Marcellina - Trudeliese
Schmidt, Bartolo - Donato di Stefano, Basilio -
Scot Weir, Don Curzio - Steve Davislim,
Barbarina - Katharina Mooslechner, Antonio -
Lynton Black.)
FIDELIO (Ludwig van Beethoven) [2:20:57]
(Frederick Guthrie (Don Fernando) Gustav
Neidlinger (Don Pizarro) Jan Peerce
(Florestan) Sena Jurinac (Leonore) Dezsö
Ernster (Rocco) Maria Stader (Marzelline)
Gerhard Unger (Jaquino) Georg Paskuda
(1.Gefangener) Paul Neuner (2. Gefangener)
Chor der Bayerischen Staatsoper Bayerisches
Staatsorchester Dirigent: Hans
Knappertsbusch München, Dezember 1961)
LE NOZZE DI FIGARO (WA Mozart) [3:00:43)
[Figaro:Knut Skram Susana: Ileana Cotrubas
Conde: Benjamin Luxon Condesa: Kiri Te
Kanawa Cherubino: Fredirica Von Stade
Glyndebourne 1973 John Pritchard] (Video)
Ludwig van Beethoven. COMPLETE STRING
QUARTETS (7:58:48) [The Early String
Quartets. String Quartet No.1 in F Major,
Op.18, No.1 1.Allegro con brio (00:00)
2.Adagio affettuoso ed appassionato (08:52)
3.Scherzo : Allegro molto (17:28) 4.Allegro

(20:44) String Quartet No.2 in G Major, Op.18,
No.2 1.Allegro (27:19) 2.Adagio cantabile
(34:33) 3.Scherzo : Allegro (40:45) 4.Allegro
molto, quasi Presto (45:01) String Quartet
No.3 in D Major, Op.18, No.3 1.Allegro (50:14)
2.Andante con moto (57:07) 3.Allegro
(1:04:30) 4.Presto (1:07:18) String Quartet
No.4 in C minor, Op.18, No.4 1.Allegro, ma
non tanto (1:13:12) 2.Scherzo : Andante
scherzoso, quasi Allegretto (1:21:24)
3.Menuetto : Allegretto (1:27:58) 4.Allegro
(1:31:03) String Quartet No.5 in A Major,
Op.18, No.5 1.Allegro (1:35:41) 2.Menuetto
(1:42:05) 3.Andante cantabile (1:46:09)
4.Allegro (1:55:55) String Quartet No.6 in B-
Flat Major, Op.18, No.6 1.Allegro con brio
(2:01:55) 2.Adagio, ma non troppo (2:07:39)
3.Scherzo : Allegro (2:15:35) 4.La Malinconia :
Adagio; Allegrtto quasi Allegro (2:18:42)
The Middle String Quartets. String Quartet
No.7 in F Major, Op.59, No.1 ‘’Rasoumovsky’'
1.Allegro (2:27:00) 2.Allegretto vivace e
sempre scherzando (2:37:04) 3.Adagio molto
e mesto (2:45:49) 4.Allegro : Russian theme
(2:58:23) String Quartet No.8 in F Major,
Op.59, No.2 ‘’Rasoumovsky’' 1.Allegro
(3:06:05) 2.Molto adagio (3:15:18) 3.Allegretto
(3:26:45) 4.Finale : Presto (3:33:12) String
Quartet No.9 in C Major, Op.59, No.3
‘’Rasoumovsky’’ 1.Andante con moto - Allegro
vivace (3:38:30) 2.Andante con moto quasi
allegretto (3:48:15) 3.Minuetto grazioso
(3:57:16) 4.Allegro molto (4:02:31) String
Quartet No.10 in E-Flat Major, Op.74, ‘’Harp’'
1.Poco adagio - Allegro (4:08:31) 2.Adagio ma
non troppo (4:17:47) 3.Presto : Piu presto
quasi prestissimo (4:26:31) 4.Allegretto con
variazioni (4:31:32) String Quartet No.11 in F
Minor, Op.95, ‘’Serioso’’ 1.Allegro con brio
(4:38:22) 2.Allegretto ma non troppo (4:42:35)
3.Allegro assai : vivace ma serioso (4:48:54)
4.Larghetto - Allegretto agitato (4:52:48) The
Late String Quartets. String Quartet No.12 in
E-Flat Major, Op.127 1.Maestoso : Allegro
(4:57:17) 2.Adagio, ma non troppo e molto
cantabile (5:03:01) 3.Scherzando vivace
50
(5:15:56) 4.Finale (5:24:08) String Quartet
No.13 in B-Flat Major, Op.130 1.Adagio ma
non troppo; Allegro (5:30:18) 2.Presto
(5:43:27) 3.Andante con moto ma non troppo
(5:45:25) 4.Alla danza tedesca, Allegro assai
(5:51:08) 5.Cavatina; Adagio molto espressivo
(5:53:50) 6.Finale : Allegro (6:00:12) String
Quartet No.14 in C-Sharp Minor, Op.131
1.Adagio, ma non troppo e molto espressivo
(6:09:05) 2.Allegro molto vivace (6:15:46)
3.Allegro moderato (6:18:19) 4.Andante
moderato e lusinghiero-Adagio; Allegretto;
Adagio, ma non troppo e semplice; Allegretto
(6:18:59) 5.Presto (6:30:59) 6.Adagio quasi un
poco andante (6:36:04) 7.Allegro (6:37:35)
String Quartet No.15 in A Minor, Op.132
‘’Heiliger Dankgesang'' 1.Assai sostenuto;
Allegro (6:43:55) 2.Allegro ma non tanto
(6:52:42) 3.Molto adagio (6:59:51) 4.Alla
marcia, assai vivace (7:13:48) 5.Allegro
Appassionato (7:16:02) String Quartet No.16
in F Major, Op.135 1.Allegretto (7:22:16)
Große Fuge in B-flat Major, Op.133 (7:27:52)
2.Vivace (7:42:23) 3.Lento assai, cantante e
tranquillo (7:45:40) 4.Grave ma non troppo
(7:52:24) The Hungarian Quartet 1st violin :
Zoltán Székely 2nd violin : Alexandre
Moskowsky Viola : Dénes Koromzay Cello :
Vilmos Palotai Recorded in 1953 New
Mastering in 2020 by AB for CMRR]
LA STUPENDA (The Best of Joan Sutherland)
[1:58:59] (01-Massenet: Esclarmonde -
Esprits de l'air, esprits de l'onde 0:00 02-
Bellini: Norma - Vanne, si: mi lascia, indegno
1:50 03-Bellini: Norma - Gia mi paso ne' tuoi
sguardi 4:44 04-Bellini: La Sonnambula -
Sopra il sen la man mi posa 7:17 05-Bellini:
La Sonnambula - Ah! non giunge uman
pensiero 11:32 06-Bellini: I Puritani - Son
vergin vezzosa 15:25 07-Bellini: I Puritani -
Vien, diletto, è in ciel la luna! 18:31 08-Verdi: Il
Trovatore - Di tale amor, che dirsi 23:03 09-
Verdi: Il Trovatore - D'amor sull'ali rosee 26:07
10-Verdi: Rigoletto - Gaultier Maldè.... Caro
nome 29:56 11-Verdi: La Traviata - E'strano...
Ah fors'e lui... Sempre libera 36:16 12-Rossini:
Semiramide - Dolce pensiero 42:59 13-
Offenbach: Tales of Hoffmann - Les oiseaux
dans la charmille 45:50 14-Meyerbeer: Les

Huguenots - O beau pays de la Touraine!
50:37 15-Gounod: O Divine Redeemer 56:23
16-Puccini: Turandot - In questa reggia
1:02:19 17-Donizetti: Linda di Chamounix - O
luce di quest'anima 1:08:52 18-Donizetti: La
Fille du Régiment - Salut a la France! 1:12:38
19-Donizetti: Maria Stuarda - Da tutti
abbandonata 1:17:28 20-Donizetti: Maria
Stuarda - Ah! se un giorno da queste ritorte
1:24:34 21-Donizetti: Lucrezia Borgia - Era
desso il figlio mio 1:29:20 22-Donizetti: Lucia
di Lammermoor - Regnava nel silenzo 1:34:19
23-Donizetti: Lucia di Lammermoor - Quando,
rapito in estasi 1:38:11 24-Donizetti: Lucia di
Lammermoor - Spargi d'amaro pianto 1:42:38
25-Bonus track: 1969, Sempre libera
(Tetrazzini version) 1:46:50 26-Bonus track:
1955, Mozart K.419 1:50:22 27-Bonus track:
1963, Norma, Vancouver 1:54:33 28-Bonus
track: Il dolce suono, conclusion 1:56:21 29-
Bonus track: Interview 1:56:39)
JOAN SUTHERLAND - FAMOUS OPERA
ARIAS, THE ART OF PRIMA DONNA (28:11)
Dame Joan Alston Sutherland (7 November
1926 – 10 October 2010) was an Australian
dramatic coloratura soprano noted for her
contribution to the renaissance of the bel
canto repertoire from the late 1950s through
to the 1980s. One of the most remarkable
female opera singers of the 20th century, she
possessed a voice of beauty and power,
combining extraordinary agility, accurate
intonation, "supremely" pinpoint staccatos, a
splendid trill and a tremendous upper register,
although music critics often complained about
the imprecision of her diction. Her friend
Luciano Pavarotti once called Sutherland the
"Voice of the Century"; Montserrat Caballé
described the Australian's voice as being like
"heaven". Sutherland was the first Australian
to win a Grammy Award, for Best Classical
Performance – Vocal Soloist (with or without
orchestra) in 1962. 1. I dreamt I dwelt In
Marble Halls (Michael William Balfe:
Bohemian Girl), London Symphony Orchestra,
Richard Bonynge – 00:00 2. O, beau pays de
la Touraine… (Giacomo Meyerbeer: Les
Huguenots), Orchestra of the Royal Opera
51
House, Coven Garden, Francesco Molinari-
Pradelli - 04:32 3. Casta Diva ... Ah! bello a
me ritorna (Vincenzo Bellini: Norma),
Orchestra of the Royal Opera House, Covent
Garden, Francesco Molinari-Pradelli - 07:04 4.
Caro nome (Giuseppe Verdi: Rigoletto),
London Symphony Orchestra, Richard
Bonynge – 13:24 5. Ah, fors'e lui ... Sempre
libera (Giuseppe Verdi: La traviata), Orchestra
of the Royal Opera House, Coven Garden,
Francesco Molinari-Pradelli - 19:19 6. Ah! non
giunge uman pensiero (Vincenzo Bellini: La
Sonnambula) The National Philharmonic
Orchestra, Richard Bonynge – 24:59
LA TRAVIATA (Giuseppe Verdi) [1:37:29]
(Joan Sutherland, John Alexander, Cornell
MacNeill, Jean Kraft. Richard Bonynge.
Tokyo. 1975) [Video]
AN HOUR WITH JOAN SUTHERLAND
(1:01:17) [Video]
L’INFEDELTA DELUSA (Franz Josef Haydn)
[1:51:34] (Franz Joseph Haydn (1732-1809) -
L’Infedeltà Delusa : Burletta per musica in due
atti. Overture (00:00) Act 1 Bella sera (06:18)
Si figliola (15:52) Aria : Quando viene a far
l’amore ! (17:23) Povera me ! povero Nanni !
(23:09) Aria : Che imbroglio è questo ! (24:26)
Ora intendo cos’è (28:23) Aria : Non v’è
rimedio (28:58) Aria : Come piglia si bene la
mira (32:52) Cappita ! Or ora è notte (39:54)
Duetto : Son disperato (41:06) Aria : Chi
s’impaccia di moglie cittadina (45:44) È qui
l’amico (53:00) Finale : O piglia questa (56:51)
Act 2 O fratel mio (1:01:19) Aria : ho un
tumore in un ginocchio (1:06:31) Che ne dite ?
Ehi Filipo ! Sandrina ! (1:12:55) Aria : Tu
Sposarti alla Sandrina ? (1:15:17) Che
faccenda è cotesta ? (1:21:00) Aria : Trinche
vaine allegramente (1:22:55) Ora ho scoperto
tutto (1:24:33) Aria : Oh che gusto ! (1:27:47)
Vieni, sbrigati Nanni (1:31:59) Aria : Ho tesa la
rete (1:32:31) Tira in qua quella tavola
(1:37:53) Aria : È la pompa un grand’
imbroglio (1:39:52) Servo di Vosustrissima
(1:45:07) Finale : New mille settecento
(1:46:12) Vespina : Edith Mathis Sandrina :
Barbara Hendricks Nencio : Claes H.Ahnsjö

Filippo : Aldo Baldin Nanni : Michael Devlin
Harpsichord : Antal Dorati Cello : Pablo
Loerkens Double-Bass : Francis Marcelin
Orchestre de Chambre de Lausanne Antal
DORATI Recorded in 1980, at Switzerland)
LA FEDELTA PREMIATA (Franz Josef
Haydn) [2:41:46] (La Prima Donna: Ileana
Cotrubas, Celia: Lucia Valentini Terrani,
Fileno: Tonny Landy, Amaranta: Frederica
von Stade, Perruchetto: Alan Titus, Nerina:
Luigi Alva, Melibeo: Maurizio Mazzieri, Diana:
Kari Lovaas. Suisse Romande Radio Chorus
Lausanne Chamber Orchestra. Antal Dorati,
Conductor)
TOSCA (Giacomo Puccini) [2:05:19] (Renata
Tebaldi, Eugene Tobin, George London.
Stuttgart, Germany) [Video]
Joseph Haydn: L'ANIMA DEL FILOSOFO,
OSSIA ORFEO ED EURIDICE Hob. XXVIII:13
Conductor: Christopher Hogwood The
Academy of Ancient Music Orchestra and
Chorus Cecilia Bartoli – Euridice/Genio Uwe
Heilmann – Orfeo ldebrando D'Arcangelo –
Creonte Andrea Silvestrelli – Pluto 00:00:00
Ouverture 00:04:09 Act I. 00:04:09
Sventurata, che fo? 00:06:54 Ferma, ferma il
piede, o principessa! 00:09:09 Che chiedete
da me? 00:10:09 Filomena abbandonata
00:15:40 Cieli! Soccorso! Aita! 00:17:31
Rendete a questo seno 00:20:23 Cara speme!
Alme di scoglio! 00:26:48 Oh prodigio, oh
stupor 00:28:01 O poter dell'armonia!
00:28:42 Ah, chi sa dirmi 00:31:31 Il pensier
sta negli oggetti 00:34:33 Grazie agli dei
00:36:45 Come il foco allo splendore 00:45:16
Finché circola il vigore 00:46:21 Adorata
consorte 00:48:12 Act II. 00:48:12 Finché
circola il vigore 00:49:34 Numi, che ascolto!
00:51:37 Ecco, signor, la principessa è sola
00:52:46 Dov'è, dovè l'amato bene? 00:55:46
Del mio core il voto estremo 00:59:27 Con
Euridice estinte son le gelose cure 01:00:02
Dov'è quell'alma audace 01:04:23 In un mar
d'acerbe pene 01:08:30 Euridice, signor
52
01:09:44 Mai non sia inulto 01:11:40 Act III.
01:11:40 Ah, sposo infelice! 01:16:44 Al cielo
te ne voli 01:19:23 Ah, sposo infelice!
01:21:01 Che sarà mai d'Orfeo? 01:21:26 Chi
spira e non spera 01:25:10 Venerata Sibilla
01:27:06 Al tuo seno fortunato 01:33:07
Costanza a me si chiede? 01:34:02 La
giustizia in cor regina 01:35:31 Dove mi guidi?
01:35:52 La giustizia in cor regina 01:37:24
Act IV. 01:37:24 Infelici ombre dolenti
01:41:02 Che ascolto, oh numi! 01:41:32 Urli
orrendi, disperati 01:43:54 O signor, che
all'ombre imperi 01:44:12 Trionfi oggi pietà
01:44:59 O della reggia mia 01:46:07
Intermezzo 01:46:53 Quai dolci e care note
ascolto! 01:47:24 Son finite le tue pene
01:47:58 Sovvengati la legge 01:49:20
Perduto un'altra volta 01:51:49 Mi sento
languire 01:55:37 Act IV, scene 5 / Act V.
01:55:37 Barbaro, infido amore 01:55:49
Vieni, vieni, amato Orfeo 01:57:04 Perfide,
non turbate di più 01:57:29 Bevi, bevi in
questa tazza 02:00:45 Andiamo, amiche,
andiamo 02:01:30 Oh, che orrore!
Josef Haydn: L'Anima del Filosofo - Orfeo
ed Euridice (2:02:20) Theather an der Wien,
1995 Concentus Musicus Arnold Schoenberg
Chor Musikalische Leitung: Nicholaus
Harnoncourt Inszenierung: Jürgen Flimm
Orfeo - Roberto Saccà Euridice - Cecilia
Bartoli Creonte - Wolfgang Holzmair Genio -
Eva Mei (Video)
ROMEO ET JULIETTE (Charles Gounod)
[2:41:04] (Nicolai Gedda, Mirella Freni, John
Macurdy, Marcia Baldwin. Francesco Molinari-
Pradelli. 1968)
FIDELIKO (Ludwig van Beethoven) [1:54:45]
(Leonie Rysanek, Hans Hopf, Ferdinand
Frantz, Ludwig Weber. Eugen Jochum. 1957)
LA FIGLIA DEL REGGIMENTO (Gaetano
Donizetti) [2:00:28] (La Marchesa di
Berckenfield: Anna di Stasio, Sulpizio:
Wladimiro Ganzarolli, Tonio: Alfredo Kraus,
Maria: Mirella Freni, La Duchessa di
Krakentorp: Annalia Bazzani, Ortensio:
Angelo Nosotti, Un notaio: Nereo Ceron, Un

caporale: Enrico Fissore, Un paesano: Guido
Fabbris. Nino Sanzogno. 1975)
MIREILLE (Charles Gounod) [1:22:29]
(Mireille - Martha Angelici Vincent - Charles
Richard Taven - Suzanne Darbans Ourrias -
Michel Dens Vincenette - Lili Danière Maître
Ramon - Lucien Lovano Ambroise - André
Vessières Clémence - Andrée Cuvelier
Andreloùn - Michel Hamel. Choeurs et
Orchestre de Radio Paris. Jules Gressier.
1948)
Hector Villa-Lobos. (3:10:31) BACHIANAS
BRASILEIRAS No.1* I.Introdução (Embolada)
Animato (06:07) ll.Prelúdio (Modinha) Andante
(13:12) III.Fuga (Conversa) Un poco animato
(22:48) BACHIANAS BRASILEIRAS No.2
(with Saxophone) I.Prelúdio (O Canto do
Capadocio) Adagio — Andantino mosso
(27:21) II.Ária (O Canto da Nossa Terra)
Largo (32:59) III.Dança (Lembrança do
Sertão) Andantino moderato (37:32) IV.Tocata
(O Trenzinho do Caipira) Un poco moderato
(42:26) BACHIANAS BRASILEIRAS No.3
I.Prelúdio (Ponteio) Adagio (46:51) II.Fantasia
(Devaneio) Allegro moderato (53:23) III.Ária
(Modinha) Largo (59:26) IV.Tocata (Picapau)
Allegro (1:07:10) Piano : Jorge Federico
Osorio BACHIANAS BRASILEIRAS No.4
I.Prelúdio (Introdução) Lento (1:12:41) II.Coral
(Canto do Sertão) Largo (1:16:30) Ill: Ária
(Cantiga) Moderato (1:22:13) IV: Dança
(Miudinho) Muito animado (1:27:38)
BACHIANAS BRASILEIRAS NO.5* I.Ária
(Cantilena) Adagio (1:31:19) Il.Dança
(Martelo) Allegretto (1:37:26) Sopran :
Barbara Hendricks Solo Cello : Eldon Fox
BACHIANAS BRASILEIRAS No.6 I.Ária
(Choro) Largo (1:41:50) Il.Fantasia Allegro
(1:45:55) Flute : Lisa Hansen Bassoon :
Susan Bell BACHIANAS BRASILEIRAS No.7
I.Prelúdio (Ponteio) Adagio (1:51:04) Il.Giga
(Quadrilha Caipira) Allegretto scherzando
(1:59:20) Ill.Tocata (Desafio) Andantino quasi
allegretto (2:04:14) IV.Fuga (Conversa)
Andante (2:11:43) BACHIANAS
BRASILEIRAS No.8 I.Prelúdio Adagio
(2:19:19) II.Ária (Modinha) Largo (2:25:22)
III.Tocata (Catira batida) Vivace - Scherzando
53
(2:33:29) IV.Fuga Poco moderato (2:38:48)
BACHIANAS BRASILEIRAS No.9 I.Prelúdio
Vagaroso e místico — Fuga Poco apressado
— Tempo 1 — Grandioso (2:44:11) Royal
Philharmonic Orchestra *8 cellos / Violoncelli /
Violoncelles Conductor : Enrique Bátiz
Recorded in 1985, at London in association
with La Secretaria de Educación Pública de
México GUITAR CONCERTO I.Allegro
precioso (2:52:36) II.Andantino e andante:
cadenza (2:57:48) Ill: Allegretto non troppo
(3:02:29) Guitar : Alfonso Moreno Orquesta
Filarmónica de la Ciudad de México
Conductor : Enrique Bátiz Recorded in 1984,
at Mexico City
Wolfgang Amadeus Mozart. THE COMPLETE
PIANO SOLO WORKS (8:56:34) [Complete
Piano Sonatas No.1 in C, KV (K) 279 Allegro
(00:00) Andante (04:44) Presto (09:11) No.2
in F, K280 Allegro assai (12:12) Adagio
(16:38) Presto (20:15) No.3 in B Flat Major,
K.281 Allegro (23:13) Andante amoroso
(27:51) Rondo - Allegro (31:39) No.4 in E flat,
K.282 Adagio (36:37) Menuetto I & II (40:33) ;
3.Allegro (44:30) No.5 in G, K.283 - Allegro
(47:34) Andante (51:32) Presto (57:06) No.6
in D, K284 Durnitz Rondeau & Polonaise -
Andante (1:00:47) Tema Con Variazioni
(1:04:08) No.7 in C Major, K.309 Allegro con
spirito (1:19:15) Andante un poco adagio
(1:23:18) Rondo - Allegretto grazi (1:29:27)
No.8 in A Minor, K.310 Allegro maestoso
(1:35:38) Andante cantabile (1:39:55) Presto
(1:46:45) No.9 in D Major, K.311 Allegro con
spirito (1:49:41) Andante con espression
(1:54:15) Rondo - Allegro (1:59:51) No.10 in
C, K.330 Allegro moderato (2:05:49) Andante
cantabile (2:12:11) Allegretto (2:19:20) No.11
in A, K.331 Andante grazioso (2:24:36)
Menuetto & Trio (2:32:04) Alla Turca -
Allegretto (2:37:45) No.12 in F, K332 Allegro
(2:41:28) Adagio (2:46:03) Allegro assai
(2:50:53) No.13 in B♭, K333 Allegro (2:55:21)
Andante cantabile (3:00:19) Allegretto
grazioso (3:06:34) No.14 in C, K457 Allegro
(3:12:26) Adagio (3:16:16) Molto Allegro
(3:23:51) No.15 in F, K533 Allegro (3:28:27)
Andante (3:34:26) No.16 in C, K545 Allegro

(3:41:45) Andante (3:44:57) Rondo -
Allegretto (3:49:51) No.17 in B♭, K570 Allegro
(3:51:34) Adagio (3:57:32) Allegretto (4:05:35)
No.18 in D, K576 Allegro (4:09:28) Adagio
(4:15:09) Allegretto (4:19:22) Complete Piano
Variations (V) 8 V in G, über (ü) ein
holländisches Lied, K24 (4:23:10) 7 V in D, ü
Willem van Nassau, K25 (4:28:37) 6 V in F, ü
ein Allegretto K54 (4:32:59) 12 V in C, ü ein
Menuett von J.Ch. Fischer K179 (4:36:32) 6 V
in G, ü Salieri’s ‘Mio Caro Adone’ K180
(4:47:00) 12 V in E flat, ü Je suis Lindor K354
(4:51:44) 12 V in C, ü Ah, vous dirai-je Maman
K265 (5:02:25) 12 V in E-flat, ü La Belle
Françoise K353 (5:08:39) 9 V in C, ü Lison
dormait K264 (5:15:29) 8 V in F, ü den Marsch
aus ‘Les Mariages Samnites’ von Grétry K352
(5:30:10) 6 V in F, ü Salve tu, Domine K398
(5:36:14) 8 V in A, ü Come un’ agnello K460
(5:42:56) 10 V in G, ü Unser dummer Pöbel
Meint K455 12 V in B-flat, ü ein Allegretto
K500 (6:04:09) 9 V in D, ü ein Menuett von
Dupont K573 (6:09:45) Andantino & Variations
in E-flat K236 (6:18:00) 8 V in F, ü Ein Weib
ist das herrlichste Ding K613 (6:19:46)
Complete Piano Menuett (M), Fantasia &
Pieces M & Trio in G K1 (6:33:08) M in F K2
(6:34:54) Allegro in B-flat K3 (6:35:40) M in F
K4 (6:36:16) M in F K5 (6:37:13) M in D K94
(6:38:10) 8 M mit Trios K315a (6:39:16)
Sonata Movement & Menuett in B-flat K498a
Allegro (6:53:19) Menuett - Allegretto
(6:57:48) M in D K355 (7:00:49) Allegro in G
minor K312 (7:03:27) Capriccio in C K395
(7:06:28) Allegro in B-flat K400 (7:09:52)
Fantasie mit einer Fuge in C K394 (7:14:49)
Füge in G minor K401 (7:27:06) Fantasie in C
minor K396 (7:27:06) Fantasie in D minor
K397 (7:35:11) Suite in C in the Style of
Handel K399 (7:40:31) Ouverture - Allegro -
Allemande - Courante - Sarabande Kleiner
Trauermarsch in C minor K453a (7:49:24)
Fantasie in C minor K475 (7:51:47) Rondo in
D K485 (8:03:42) 6 Deutsche Tänze mit Trios
K509 (7:14:07) Rondo in A minor K511
(8:24:58) Rondo in FK494 (8:32:46) Adagio in
B minor K540 (8:38:50) Gigue in G K574
(8:45:06) Adagio in C K356 (8:46:45) Rondo
in F K616 (8:50:29) Piano : Walter Gieseking
54
Recorded in 1953-54, at London New
Mastering in 2020 by AB for CMRR]
Richard Wagner. DAS RHEINGOLD
(2:25:29) Thomas Stewart  (Wotan), Brigitte
Fassbaender (Frika), Peter
Schreier (Loge), Zoltán Kelemen (Alberich),
Jeannine Altmeyer  (Freia), Gerhard
Stolze (Mime), Gerd Nienstedt/Karl
Ridderbusch [voice dubbing] (Fasolt), Louis
Hendrikx ( Fafner), Hermin
Esser (Froh), Vladimir de Kanel/ Leif Roar
[voice dubbing] (Donner), Birgit Finnilä 
(Erda), Eva Randová  (Woglinde), Edda Moser 
(Wellgunde), Liselotte Rebmann  (Flosshilde).
Herbert von Karajan [Video]
Richard Wagner. DAS RHEINGOLD
(2:25:45) Georg Solti cond/ Vienna
Philharmonic Orchestra Year/Date of
Composition: 1853-4 Wotan: George London
Donner: Eberhard Wächter Froh: Waldemar
Kmentt Loge: Set Svanholm Alberich: Gustav
Neidlinger Mime: Paul Kuen Fasolt: Walter
Kreppel Fafner: Kurt Böhme Fricka: Kirsten
Flagstad Freia: Claire Watson Erda: Jean
Madeira Woglinde: Oda Balsborg Wellgunde:
Hetty Plümacher Floßhilde: Ira Malaniuk
(Audio+Score)
0:00 - Scene One (The Rhine River) 4:13 -
(Woglinde's lullaby) 5:25 - (The dwarf Alberich
appears) 6:38 - (Alberich tries to catch
Woglinde...but fails) 7:36 - (Wellgunde's
seduction) 9:12 - (Flosshilde's seduction)
11:09 - (Alberich's anger and accusation as he
falls for the Rhinemaidens' pranks) 11:36 -
(The Rhinemaidens don't give a damn) 13:57
- (The sun shines on the Rhinegold) 17:17 -
(Wellgunde: "Making a ring from the gold
grants world-power.") 17:56 - (Woglinde: "One
must renounce love to make the ring of
power.") 19:46 - (Alberich renounces love and
steals the Rhinegold.) 24:11 - Scene Two (On
a meadow outside Valhalla. Construction of
Valhalla has just been completed.) 25:29 -
(Fricka: "A debt is due.") 33:04 - (Freia fleeing
from the Giants) 35:04 - (Entrance of Fasolt
and Fafner) 41:22 - (Fafner considers taking

the Golden Apples from Freia) 42:31 - (Froh
and Donner try to defend Freia) 43:25 -
(Wotan intervenes with his Spear) 44:12 -
(Entrance of Loge) 47:57 - (Loge talks of his
search for payment for the giants, and his
hearing the Rhinemaidens' tale) 59:21 - (The
Giants take Freia) 1:00:57 - (The Gods grow
older) 1:07:22 - Interlude (Wotan and Loge
descend to Nibelheim to steal the Rhinegold
from Alberich) 1:09:48 - Scene Three
(Nibelheim) 1:10:31 - (Alberich takes the
Tarnhelm, forged by his brother Mime)
1:13:51 - (Wotan and Loge converse with
Mime about Alberich's tyranny over the
Nibelungs) 1:29:25 - (Alberich transforms into
a dragon, then a toad, and gets captured by
Wotan) 1:32:30 - Interlude 1:35:55 - Scene
Four (Outside Valhalla) 1:46:12 - (Alberich
curses the Ring) 1:50:21 - (The mist clears)
1:56:17 - (Loge and Froh heap treasure on top
of Freia) 1:59:51 - (Fafner turns his attention
to the Ring, which Wotan refuses to give)
2:01:26 - (The goddess Erda rises from the
ground: "A darksome day dawns for your
godhood: be counseled, give up the Ring!)
2:07:55 - (Wotan gives up the Ring, releasing
Freia) 2:09:17 - (The curse takes effect...the
giants fight over the Ring; Fafner kills Fasolt)
2:14:22 - (Donner clears the fog on the
mountain top with his hammer) 2:16:16 -
Rainbrow Bridge Scene; The gods (all except
Loge) cross the bridge to Valhalla 2:22:03 -
(The Rhinemaidens lament the loss of the
Rhinegold.)
Johann Sebastian Bach. THE ART OF THE
FUGUE (1:22:08) [MacGregor] For lyricism,
warmth, and narrative intelligence I don’t think
this recording of The Art of Fugue has been
bettered. MacGregor’s concern is always to
make each piece uplifting in its own way, and
to give each its distinct character: C.1 and
C.14 are taken at tempi which make them
sing, C.4 is given lots of intimate articulative
touches, and the stretti in C.5, usually
dramatic, enter with a sense of quiet repose,
making the piece luminously mysterious. C.2
and C.6 – the two dotted-rhythm fugues –
swing away like there’s no tomorrow: C.2 in
particularly is given a kind of jazzy casualness
55
that’s really effective. C.7’s gentle murmuring
is perfect prelude to the energetic C.8. C.12,
usually dead-serious, has a pompous
swagger about it (particularly in the inversus),
emphasized by the clashing notes created by
the by crossing voices and the use of staccato
in the scalar passages. In the 2-keyboard
version of C.13 MacGregor opts not to
tripletize the semiquavers, generating lots of
lovely rhythmic variety. See also the long lines
of the Canon at the twelfth, the carefully
shaped subject in the Canon at the tenth, and
the wonderful articulation in the Canon with
following voice inverted and augmented.
Another feature of the playing worth
mentioning is its fantastic sense of (hard to
find the right words for this) harmonic
movement – the sequences are uniformly
beautiful. But if there is a single quality of the
playing here that’s especially arresting, it’s the
narrative drama MacGregor brings to the
longer fugues. C.8 is given symphonic
treatment, with stark pauses, huge dynamic
changes, and expressive changes in tempo.
C.11 starts quiet and unmoving and stays that
way for a long while, even when the second
subject enters – until at 36:10 a very gradual
crescendo enters, gathering in strength until at
36:41 a climax is reached and the music fades
back into dreaminess again. The whole piece,
taken at a relatively slow pace, feels timeless
and monumental – the dense chromaticism of
the last section, instead of coming across as
wild, has a sense of desperation or intense
sadness, even as it builds into that heart-
stopping climax at 42:40 (in general
MacGregor’s got a great way of building into
dramatic moments: 14:30, 17:50, 23:18, and
so on). And C.14, often forlorn, is now
hopeful, rapt. 00:00 – Contrapunctus 1 03:59
– Contrapunctus 2 06:10 – Contrapunctus 3
08:46 – Contrapunctus 4 11:30 –
Contrapunctus 5 14:47 – Contrapunctus 6
18:30 – Contrapunctus 7 21:03 –
Contrapunctus 8 26:00 – Contrapunctus 9
28:11 – Contrapunctus 10 33:52 –
Contrapunctus 11 44:37 – Canon at the
octave 48:24 – Canon at the tenth 53:32 –
Canon at the twelfth 56:50 – Canon with

following voice inverted and augmented
1:00:25 – Contrapunctus 12, rectus [inversus
at 1:02:43] 1:05:03 – Contrapunctus 13,
rectus [inversus at 1:07:19] 1:09:44 –
Contrapunctus 14 1:17:40 – Mirror fugue for
Two Keyboards, based on Contrapunctus 13,
inversus [rectus at 1:19:54]
Leopold Godowsky. STUDIES ON
CHOPIN’S ETUDES, op. 10 [Stanhope] [The
complete opus 10 studies of Chopin and
Studies on the Op.10 Chopin Studies by
Godowsky, played by David Stanhope, are
available on CD (TP230) and DVD (with
commentaries) from Tall Poppies Records
(www.tallpoppies.net). Go buy! There are
loads of less-well known pianists out there
who could use your support.] Godowsky’s
studies on Chopin’s etudes are marvellous
masterpieces. They’re not just wonderful
tributes to Chopin’s etudes: they also
significantly extend them in terms of harmony,
colour, and, most importantly, counterpoint.
They’re essentially a set of highly evocative
character pieces, covering a huge range of
expressive styles and moods, and it’s very
hard not to be awestruck by the craft and
keyboard mastery that must have been put
into writing them. Every note and articulation
(those swarms of pedal markings and
fingerings) is perfectly judged, and
Godowsky’s skill with counterpoint sometimes
reaches levels you only otherwise find in
Bach: see the way he conjures multiple voices
from a single line in No.2, adds inner
chromatic lines in No.8, 15a, and 20, spins a
beautiful melody from accompaniment in
No.15, drives the polyphony so intensely it
generates bewildering harmonies in No.17,
combines etudes in No.18, gives each voice
its own rhythmic pulse in No.19, or puts a
canon in Nos. 18a and 21. Apart from this
contrapuntal invention you also have a lot of
textural variety: in this set you’ll find nocturnes
(Nos.13 and 15), a tarantella (No.9), a
capriccio (No.10), toccata (No.14), chorale
(No.1), dances (No.17 and 18a), and an
exuberant fantasy (No.16). The way
Godowsky manipulates Chopin’s material is
consistently ingenious: some of the left-hand
56
etudes are close to being transcriptions, but
more often than not often harmonies are
radically altered, a tiny figuration gives rise (in
Diabelli-esque fashion) to an extended
sequence, whole sections are shifted around
in time or transferred between hands, rhythms
are transformed and piled up against each
other, and melodies are introduced to
countermelodies. It’s also worth mentioning
that these studies go much further than
Chopin’s in developing technique for the left
hand – even in the two-handed etudes, the left
hand often has the lion’s share of the hard
work, and in the left-hand etudes it’s
surprising how many contrapuntal lines
Godowsky manages to under one hand. (It
should also be said that while the difficulty of
some of these etudes is truly extreme, the
technical challenges of the set as a whole
have been pretty exaggerated: some of the
left-hand etudes, for example, are basically
sight-readable.) Stanhope and Hamelin are
responsible for my two favourite renditions of
the Godowsky studies, though Stanhope has
only recorded the Op.10. His playing is not as
technically effortless as Hamelin’s (though
tempi are just as uncompromising), but it is
more richly textured. Every contrapuntal nook
is explored (where Hamelin, for a more
luscious sound, sometimes hides dissonances
or inner voices), and the hypermeter of each
piece is never disturbed by unnecessary
rubato. Some of the interpretive decisions he
makes are also pretty interesting: in No.1, for
instance, the decision to blur the semiquavers
to let the chorale tower over the texture, or
decision to keep tempo relatively constant in
No.5, or the choice of the frenzied, biting ossia
in No.19 at 48:25.
Leopold Godowsky. PIANO SONATA in e
minor (Adam Aleksander)
Isaac Albeniz. SUITE ESPANOLA, op. 47
(1886) Suite Española Op. 47 (1886), de
Isaac Albéniz (1860-1909). Alicia de Larrocha,
piano. 1. Granada (00:00) 2. Cataluña (5:02)
3. Sevilla (7:38) 4. Cádiz (12:19) 5. Asturias
(16:53) 6. Aragón (22:52) 7. Castilla (27:17) 8.
Cuba (30:10)

Frederic Chopin. VARIATIONS ON LA CI
DAREM LA MANO (34:23) [Trifonov,
Nebolsin] It’s very unfortunate that Chopin
never seriously explored theme and variation
form over his career, given that this opus – the
one which famously made Schumann go
“Hats off, gentlemen! A Genius!” – is a
wonderful piece of work, and curiously unlike
anything else Chopin wrote. Seriously – just
listen to that introduction, with all that densely
wafting filigree over a defiantly untethered
bass. Nothing else Chopin wrote is even
vaguely like it except for some passages in a
late work, the Berceuse Op.57 (which is still
very unlike this work, as it has an ultra-
disciplined harmonic scheme). After the
theme’s entrance, Var.1 rockets off with
Volodos-esque double counterpoint in the RH,
and then Var.2 comes busily chattering along
with its repeated notes. Var.3 is a burbling
study in dealing with beautiful melodies (of
very different kinds) in each hand, with the LH
in particular sustaining a line of incredible
dynamic detail and articulation. Var.4 is spiky
and overtly virtuosic in a Lisztian or
Schumann-esque way. Var.5 might as well be
a second introduction, or an intermezzo in the
pattern of some of Beethoven’s terse slow
movements, and Var.6 finally brings us into
familiar territory: the kind of effortless
brilliance you can find in Chopin’s Piano
Concertos and (especially) the Grande
Polonaise Brillante Op.22. All in all, a nice
demonstration of how work that’s quite
obviously written to impress can also be really
great art. Trifonov’s performance is a total joy
to listen to. The introduction sounds like a real
improvisation, spun entirely from imagination
and jam-packed with expressive detail. The
usually straight-faced theme is taken with a lot
of humour, as the little rhythmic hesitations
and tugging accents show – it’s awfully hard
not to smile at the playing. Var.1 and 2 are
taken at precipitous tempi, and Var.3’s lush
LH melody is handed to perfection, with the
secco treatment it’s given in the repeat a real
revelation. Var.5 is taken faster than you
usually hear (listen to that super-crisp opening
flourish) and has a programmatic kind of
57
drama to it. The finale is uncompromising,
tackled with frenetic swagger. Nebolsin,
accompanied by Antoni Wit and the Warsaw
Philharmonic, puts in a powerfully taut,
detailed performance. The playing is less free
and considerably more disciplined than
Trifonov: the introduction, warm and generous
as it is, also has a clearly introductory feel.
Var.1 has a playful rather than extroverted
character, with some superb voicing in the
RH, and Var.2 is also beautifully articulated.
Var.3 maintains its propulsiveness despite the
intricate voicing, and Var.4 features some
neat staccatissimo playing. Var.5 and the
finale are handled with relish – not at
Trifonov’s speed, but with more breath and
festivity. Trifonov: 00:00 – Introduction: Largo
05:04 – Thema: Allegretto 06:39 – Var.1:
Brillante 07:33 – Var.2: Veloce, ma
accuratamente 08:30 – Var.3: Sempre
sostenuto 10:16 – Var.4: Con bravura 11:27 –
Var.5: Adagio 13:34 – Coda (Var.6): Alla
polacca Nebolsin: 17:04 – Introduction: Largo
21:46 – Thema: Allegretto 23:12 – Var.1:
Brillante 24:17 – Var.2: Veloce, ma
accuratamente 25:19 – Var.3: Sempre
sostenuto 26:41 – Var.4: Con bravura 28:01 –
Var.5: Adagio 30:40 – Coda (Var.6): Alla
polacca
Ludwig van Beethoven. DIABELLI
VARIATIONS, op. 120 (1:03:07)
[Anderszewski] A performance that's so
crazily, unreasonably beautiful that it's sort of
ridiculous to listen to this if it's your first
encounter with the Diabelli Variations -- it's too
personal, too out-there in terms of the lengths
to which it will go to give breath to
Beethoven's conception, to serve as an
introduction. But -- what the heck -- it's too
good not to share. The interpretive insight
here is transfixing, the pianism revelatory (if
something here sounds strange, just think a
little about exactly what the text instructs and
you'll see how it suddenly makes sense).
Unlike many other (admittedly excellent)
recordings, there is no attempt made at
smoothing out the huge dynamic contrasts
Beethoven asks for (the pianossimos are real
pianissimos); the sense of rhythm is

tremendous, every inflection laser-etched,
every variation utterly vivid, beflecked with
colour. As for the Diabelli Variations
themselves -- well, they've got a good shot at
being the greatest thing written for the piano,
even if I think anything like a precise ranking
is a conceptual nonsense. Think of the way
Beethoven parodies (the faster variations are
often very funny), tears apart, reconstructs,
exaggerates, compresses, sanctifies, coaxes,
and ultimately uplifts the theme he is provided
with: a slight thing comprised of sequences
repeated one after another, each time slightly
modulated. Think of the passage in Var.3
where the treble suddenly holds a chord for
four full bars while the bass repeats a little
three-note figure eight times, after which the
melody proceeds as if nothing out of the
ordinary has happened, how Var.9 and 11 are
built from the most microscopic element of the
theme (the turn that begins the waltz), the
minimalism of Var.13, the canonic exuberance
of Var.19, the towering sphinxlike stillness of
Var.20, the absurdly subtle Var.24 (which
reflects on the theme with incredible
ingenuity), the profoundly moving laments of
Var.30-31, the gorgeous Var.32 -- a triple
fugue whose first theme is built from Diabelli's
falling fourth as well as its most uninspired
element (a single note repeated ten times!) --
and the Op.111-arietta-like final variation,
which like the closing pages of Beethoven's
last sonata appears to stop time. 00:00 --
Theme, Vivace 00:53 -- Var.1, Alla Marcia
maestoso 02:46 -- Var.2, Poco allegro 03:41 --
Var.3, L'istesso tempo 05:15 -- Var.4, Un poco
più vivace 06:18 -- Var.5, Allegro vivace 07:17
-- Var.6, Allegro ma non troppo e serioso
09:14 -- Var.7, Un poco più allegro 10:28 --
Var.8, Poco vivace 11:58 -- Var.9, Allegro
pesante e risoluto 13:48 -- Var.10, Presto
14:26 -- Var.11, Allegretto 15:57 -- Var.12, Un
poco più moto 16:55 -- Var.13, Vivace 18:01 --
Var.14, Grave e maestoso 24:22 -- Var.15,
Presto Scherzando 25:00 -- Var.16, Allegro
25:59 -- Var.17, Allegro 27:03 -- Var.18, Poco
moderato 29:21 -- Var.19, Presto 30:24 --
Var.20, Andante 33:20 -- Var.21, Allegro con
brio 34:55 -- Var.22, Allegro molto 35:47 --
58
Var.23, Allegro assai 36:40 -- Var.24,
Fughetta 40:26 -- Var.25, Allegro 41:14 --
Var.26, Piacevole 42:20 -- Var.27, Vivace
43:24 -- Var.28, Allegro 44:27 -- Var.29,
Adagio ma non troppo 45:45 -- Var.30,
Andante, sempre cantabile 48:58 -- Var.31,
Largo, molto espressivo 55:32 -- Var.32,
Fuga: Allegro (with a remarkable transition to
the next variation) 59:15 -- Var.33, Tempo di
Menuetto moderato
Franz Schubert. PIANO SONATA in Bb, D.
960 (41:11) [Kovacevich) Everyone – quite
reasonably – lauds the Richter account of this
profound and groundbreaking work, but it
turns out Schubert had some ideas of his own
about how this sonata to be played, and this
breathtaking account by Kovacevich comes as
close to definitive as I can imagine. He plays a
genuine pianissimo and molto moderato, and
his interpretation contains a sense of unease
and urgency that is hugely compelling. There
is no slouch toward profundity, no gesture of
unnecessary sophistication. Instead there is a
consistent variety of articulation -- warmth
[23:22], sadness, violence, tranquility -- all as
the work demands it. Schubert’s final sonata
is famed for its sense of inner stillness, but
often that’s just a function of tempo – there’s a
lot of compulsion and vigour in it, as
Kovacevich’s recording shows. What is truly
extraordinary about this sonata, however, is
its harmonic life. The D.960 is full of harmonic
shifts of vast structural violence which
nonetheless sound perfectly serene –
“magical” modulations, as they are often
called, which receive little (obvious)
preparation. It’s worth noting that there’s even
such a “magical” shift writ large on the
structure of the entire piece, since the second
movement is in the key of C# minor, making it
the most harmonically isolated of all the
movements in Schubert’s work. You
encounter the first such magical modulation at
0:54, when the tonality shifts from Bb major to
Gb major without any apparent preparation. At
1:57 there is another less sudden shift to F#
minor, which means that we get a three-key
exposition. In fact both shifts have been
anticipated by the Gb trill which trembles

minutely and ominously in the midst of the
exposition’s first theme. The next magical
modulation appears when we get a sudden
shift from an F major to a C# minor chord at
the beginning of the development section
[9:45]. This leads into a whole series of
incredibly colourful modulations, which
apparently culminate in Db major [11:01],
except that we then wander via increasingly
dramatic dissonances into D minor, where we
get the climax of the movement in which the
first theme of the exposition is repeated
[11:50] in barely recognisable form. (The
modulation from D minor back into Bb major is
fairly noteworthy too, as the D minor dies
away in the most achingly gradual manner
possible, in little stepwise chromatic shifts,
over about 90 seconds of music.) The second
movement contains what is perhaps the most
famously moving modulation in Schubert’s
work, a sudden shift from C# minor to the
remote terrain of C major [26:22] right after a
half-cadence on the dominant, although that is
followed by an equally beautiful shift from C to
E [25:56]. There are many other fun things
going on in this sonata apart from just striking
modulation, however. There is some
unexpected playing on your expectations of
how a melody is phrased [30:55, where the
melody contains a false beginning that isn’t
actually a false beginning, if you look at the
phrase marks – it’s just that it’s grown by an
extra bar], and some more harmonic
cheekiness – the finale begins in apparent C
minor. The climax of the finale [37:18] is,
remarkably, in C-flat major, from which the
bass descends in chromatic modulation
eventually to G to return to the main theme.
The interrelations between the movements
are also ingeniously set up: in the finale's
coda, the octave on G [40:24] descends
through Gb [40:30] to F, which reaches all the
way back to that Gb trill in the opening of the
first movement which resolved downward to F
so inaudibly: a lovely instance of cyclic form.
(In fact, the G-Gb-F resolution is central to the
whole finale -- its how the tonality in the
beginning of the movement moves from C
minor to Bb major). And there’s the fact that
59
the second theme of the finale [37:24] has the
same melodic contour (5-8-7-6-6-5-(5-4-4-3))
as the remarkable C major modulation in the
second movement. And it must be mentioned
that in the first movement the end of the
exposition (when you play it the first time)
contains 9 bars of weird, stuttering, totally new
material [4:42], and the only instance when
that Gb trill is played ff (this makes omitting
the repeat kind of obscene, since this material
totally disappears from the piece if you do.)
00:00 – Mvt 1, Molto moderato 19:58 – Mvt 2,
Andante sostenuto 29:16 – Mvt 3, Scherzo
33:15 – Mvt 4, Allegro ma non troppo
Franz Schubert. PIANO SONATA No. 19 in
c minor, D. 958 (36:11) Composer: Franz
Peter Schubert (31 January 1797 -- 19
November 1828) - Performer: Grigori Sokolov
- Year of recording: 2007 (Live in Amsterdam,
The Netherlands) Piano Sonata No. 19 in C
minor, D. 958, written in 1828. 00:00 - I.
Allegro 12:03 - II. Adagio 21:36 - III. Menuetto
& Trio. Allegro 25:02 - IV. Allegro Franz
Schubert's final three piano sonatas --
stunning achievements that only began to
grab a place in pianists' repertoires during the
latter half of the twentieth century -- were all
finished in September 1828, just two months
before the composer died. The first of these
three massive and challenging sonatas, at
least as far as numbering goes, is the Piano
Sonata in C minor, D. 958, sometimes called
No. 19; like the other two piano sonatas of
1828, it is a work that Schubert dedicated to
the pianist Johann Hummel. Hummel had a
year earlier been present at a private evening
of Schubert lieder and had expressed his
admiration for the composer in the highest
terms. The Sonata, however, was not
published until 1839, a few years after
Hummel's death, and the publisher unjustly
struck Schubert's dedication from the piece
and made a new one to Robert Schumann.
Schubert had, by 1828, come a long way from
his days as a teenage pupil of Antonio Salieri;
he still, however, cherished the traditional
four-movement sonata blueprint. In the C
minor Piano Sonata these four movements
are marked Allegro, Adagio, Allegro (the

minuet and trio), and Allegro. - The opening
Allegro begins as a grim, stone-faced affair in
punctuated chords; the first thought is soon
given a new spin with an Alberti-bass style
accompaniment. The second subject of this
sonata-allegro movement is a tender, legato
notion; most of the unusual development
section is concerned with a chromatically
meandering idea in the bass. Eventually the
right hand adorns this mysterioso bassline
with chromatic scales up and down the
keyboard. There are few Schubert endings as
inutterably stark as that of this first movement.
- The presence of an Adagio in a Schubert
piano sonata is something of a peculiarity --
adagio was never one of the composer's
preferred slow movement tempo indications.
The movement is in the noblest kind of A flat
major, and has a melody that, in both shape
and treatment, hearkens back to Beethoven's
serene slow movements. The triplet-ridden,
unstable contrasting material is more typically
Schubertian. - The minuet is full of metric
witticisms, or at least rhythmic quirks, the
most immediately obvious of which are the
full-measure rests that mark the return of the
opening tune just before the easygoing A flat
major trio. - The finale is immense; its
constant horse-gallop rhythm embraces a far-
flung tonal plan. After the last of several
tuneful efforts has been wiped clean, nearly a
hundred bars of the unrelenting horse-gallop
draws the movement to its terse final
cadence.
Johann Sebastian Bach. THE ART OF
FUGUE (1:26:49) [Full Score] Contrapunctus
1 - 0:30 Contrapunctus 2 - 3:38
Contrapunctus 3 - 6:29 Contrapunctus 4 -
9:08 Contrapunctus 5 - 12:37 Contrapunctus 6
- 15:18 Contrapunctus 7 - 19:38
Contrapunctus 8 - 22:58 Contrapunctus 9 -
28:11 Contrapunctus 10 - 30:42
Contrapunctus 11 - 34:15 Contrapunctus 12 -
39:42 Contrapunctus 13 - 44:03
Contrapunctus 14 - 48:07 Contrapunctus 15 -
53:31 Contrapunctus 16 (rectus) - 1:01:29
Contrapunctus 16 (invertus) - 1:04:09
Contrapunctus 17 (rectus) - 1:06:16
Contrapunctus 17 (invertus) - 1:08:29
60
Contrapunctus 18 (rectus) - 1:10:30
Contrapunctus 18 (invertus) - 1:12:39
Contrapunctus 19 - 1:14:30 Chorale: Von
deinenThron tret ich hiermit - 1:23:12
Frederich Chopin. BERCEUSE in Db, op. 57
(22:49) [Michelangeli, Rubinstein, Moravec,
Ashkenazy, Pollini] Like all of Chopin’s late
works, the Berceuse is a pianistic
masterpiece. But it stands out from the rest of
Chopin’s late works, because it contains no
innovation in terms of structure or harmony
(cf. the Polonaise-Fantasie, or the Barcarolle
and the radical harmony of its last pages).
Instead, the Berceuse is a truly breathtaking
showcase of ornamental-figural thematic
transfiguration, featuring dazzling pianistic
filigree, luxurious dissonances, inventive
counterpoint, and a whole array of spectacular
colouristic effects. Chopin imposes on himself
the extreme discipline of a single four-bar
phrase repeated sixteen times, always in the
same meter and key, over an ostinato ground
that *nearly* repeats itself in identical form in
every single bar – structural minimalism
paired with textural maximalism, as it were.
It’s a wonder, given its formal constraints, that
the Berceuse gives pianists so much space
for interpretive freedom, but a bit of thought
makes it clear that the pianist needs to make
a whole bunch of difficult interpretive
decisions. Is the LH figuration supposed to be
played in strict rhythm, or is a tiny shade of
diminuendo in the second half of each bar
OK? Is the tempo supposed to remain
constant throughout, or can it relax for denser
passages [such as 1:51]? Sometimes it’s
obvious the tempo must relax [see 2:16], but
by how much? When Chopin writes passages
that are obviously contrapuntal even if no
counterpoint is indicated in the score [as in
1:22, 2:21], how much emphasis should be
given to the hidden voices? Is the Berceuse
supposed to be reverentially lyrical [slower
tempi, more emphasis on each note: see
Ashkenazy], or is it sweetly and
straightforwardly melodic [faster tempi, more
emphasis on the arc of the phrase: see
Rubinstein]? What is the exact significance of

the apparent foray into G-flat major at the end
of the piece, and how much should those C
flats be emphasised? In any case, all five
pianists in this video give very convincing if
quite different performances of the Berceuse:
in all honesty, I’m usually fondest of whichever
interpretation I’m listening too, but I think
Moravec and Pollini are especially persuasive.
00:00 – Michelangeli. Nearly constant (and by
modern standards relatively rapid) tempo
throughout, with rapid cascades of notes
dispatched with incredible lightness and
elegance. The tone is burnished, glowing. The
most Debussy-like of all the interpretations.
04:15 – Rubinstein. The most rhythmic of the
interpretations, with a pulse that forms the
base for some of the most effortlessly joyful
lyrical playing I’m come across. There are
several similarities with the Michelangeli
recording: Rubinstein constantly favours the
upper voice in contrapuntal passages, and his
tempo is also brisk (although he is willing to
reduce speed at points like 6:06). 08:32 –
Moravec. Relentlessly lyrical (turn up the
volume a bit!) I think his is the only recording I
know of where you can actually hear those
long slurs Chopin indicates – Moravec’s
legato is kind of amazing. His tone is hushed,
intimate, his playing especially free [at 9:29,
he lets his hands start to go slightly out of
sync, and at 10:54, where some pianists (see
Michelangeli) begin a slight accelerando
toward the end of the phrase, he introduces a
marked diminuendo instead.] I don’t think
anyone does softer trills than his at 11:17,
which come as a surprise after that sparkling
downward scale. 13:25 – Ashkenazy. The
slowest of the interpretations. Reverential and
meditative, with a particularly quiet LH and a
tempo that remains surprisingly constant,
even in the densest passages – a real sense
of stillness pervades. He emphasises lower
voices more than most. 18:26 – Pollini. Full of
gorgeous little touches, such as the tiny
accelerando Pollini puts in the LH (in the
opening) at the exact moment the harmony
changes from tonic to dominant. Especially
striking is the way he handles counterpoint: he
first introduces it so gently in the first variation
61
it slips in almost unnoticed, but at moments
like 19:57 lets the invisible lower voice speak
with great eloquence. His use of rubato is also
quite noteworthy – note how he often begins
cascading passages with a slight breath
before accelerating over the whole phrase.
Frederic Chopin. BARCAROLLE, op. 60
(43:26) [Pollini, Zimerman, Kissin, Horowitz,
Argerich]
00:00 -- Pollini (Warm and lyrical. He has a
reputation for technicality and coldness that is
not deserved.) 08:37 -- Zimerman (Hushed
and worshipful, occasionally rising to majesty)
17:30 -- Kissin (Tender and surprisingly
meditative) 26:23 -- Horowitz (Scriabinesque,
aching, enigmatic, some nice voicing) 35:21 --
Argerich (Intimate, and as you would expect,
relatively free and occasionally tempestuous.)
Chopin's Barcarolle is one of his most
important works, and is awash in harmonic
innovation -- the last pages descend into near-
atonality, and the use of the G7 chord in the
penultimate flourish is essentially a very
daring tritone substitution. It is also very tricky
to interpret effectively, and here 5 great
performances are collected. My personal
favourites are Pollini's and Argerich's
performances but ask me on another day and
my answer might be different.
Frederic Chopin. 7 POLONAISES, op. 26,
40, 44, 53, 61 (57:11) [Vladimir Ashkenazy]
Op. 26, No. 1 - 0:00 Op. 26, No. 2 - 7:32 Op.
40, No. 1 - 14:56 Op. 40, No. 2 - 19:58 Op. 44
- 26:43 Op. 53 - 37:03 Op. 61 - 43:18 Very
robust and sharply articulated playing.
Ashkenazy plays with a judicious use of
rubato, as to not destroy the fundamental
rhythmic drive of the music. This rhythmic
drive is maintained even in the more lyrical
segments.
Frederic Chopin. FANTAISIE IMPROMPTU,
op. 66 (Artur Rubinstein) Fantaisie
Impromptu, Op. 66 Arthur Rubinstein, piano
The Fantaisie-Impromptu in C-sharp minor,
Opus posthumous 66, is a solo piano
composition and one of his most well-known
pieces. It was composed in 1834 and

dedicated to Julian Fontana. Fontana
published the piece in spite of Chopin's
request not to do so. The piece uses many
cross-rhythms (the right hand plays sixteenth
notes against the left hand playing triplets)
and a ceaselessly moving note figuration and
is in cut time. The opening tempo is marked
allegro agitato. The tempo changes to largo
and later moderato cantabile when the key
changes to D-flat major, the enharmonic
equivalent of the more obscure tonic major
key of C-sharp major, that is, the parallel
major of C-sharp minor. The piece then
changes to presto (although some versions of
the score incorporate a coda, meaning that
the original tempo of allegro agitato is
repeated) where it continues in C-sharp minor
as before. It ends off in an ambiguous fantasy-
like ending, in a quiet and mysterious way,
where the left hand replays the first few notes
of the moderato section theme, while the right
hand continues playing sixteenth notes. The
piece resolves and gently ends on a C-sharp
major rolled chord.
Franz Liszt. TARANTELLA (9:35) [Hakki
Bayka]
Camille Saint-Saens/Franz Liszt. DANSE
MACABRE, op. 40 (10:15) [Cohen]
Franz Liszt. PIANO CONCERTO No. 2 in A,
S. 125 (21:47) [François-René Duchâble.
London Philharmonic Orchestra. James
Conlon] Franz Liszt (Hungarian Liszt Ferencz,
in modern usage Liszt Ferenc ((October 22,
1811 – July 31, 1886) was a 19th-century
Hungarian composer, virtuoso pianist,
conductor, teacher and Franciscan tertiary.
Piano Concerto No. 2, S.125 Dedication:
Hans Bronsart von Schellendorff (1830–1913)
1. Adagio sostenuto assai - Allegro agitato
assai - Un poco più mosso - Tempo del
andante - 2. Allegro moderato - 3. Allegro
deciso - Marziale un poco meno allegro - Un
poco animato - Un poco meno mosso - 4.
Allegro animato François-René Duchâble and
the London Philharmonic Orchestra
conducted by James Conlon Description by
Robert Cummings [-] Liszt began work on his
62
Piano Concerto No. 2 in 1839 and initially
completed it in 1857. Further revisions were
made over the course of the next few years
and a final version was fashioned in 1861,
with its publication in 1863. Like the first piano
concerto, it is cast in a single movement
although, unlike its sibling, the sections
comprising it are numerous and less distinct,
prompting some musicologists to view it as a
symphonic poem with piano. W.F. Apthorp
subtitled the concerto, "The life and
adventures of a melody." His description is
quite appropriate because, also like the First,
the whole of this concerto derives from its
opening melody, which, over the course of the
work's 20 or so minutes, yields many
transformations and variations. This is also a
more intimate composition than the first, and,
ironically, more bombastic, as well. The work
was premiered in Weimar on January 7, 1857,
with the work's dedicatee, Hans von Bronsart,
as soloist and Liszt conducting.
Franz Liszt. PIANO CONCERTO No. 3, op.
Posth. (16:01) [Jenő Jandó. Hungarian State
Symphony Orchestra. Lamberto Gardelli] The
story of this Concerto's resuscitation is a
classic case study in musical archaeology,
involving widely dispersed manuscripts
(East/West Germany, Russia),
misidentifications by library cataloguers, long
slow work and elements of pure chance. The
work, tentatively dated from 1839, was
identified and assembled from the multiple
sources by Jay Rosenblatt in 1989, a feat
which required a considerable degree of
detective work. Being in the key of E-flat major
caused careless archivists at some
undetermined time in the past to mistake
some of the manuscripts for an early or
rejected version of the composer's first
Concerto (in the same key) but it soon
became evident that the score was a self-
contained composition in one movement.
Looking through Rosenblatt's research shows
that Liszt did in fact refer to this Concerto
alongside his other two (a letter to a publisher
from 1839 requests: "Be so good as to have
Carl send to me in Pest as soon as possible
the Maometto Fantasie and three scores

(accompaniment to three new piano concertos
[of my] composition).") however there is no
evidence that any performance of the work
took place, and we will probably never know
whether Liszt abandoned the work or, as
Rosenblatt suspects, just never got around to
the planned revision. In composing the
concerto, Liszt used thematic material from
works composed during the 1820s; he wrote
to his mother in 1836 to send him copies of
some of his earliest published compositions:
two sets of Variations, the Allegro & Rondo di
bravura and the early set of Études (Opp 1, 2,
4 and 6). These last became the basis of the
Douze Grandes études, and three of the other
works provided material for the present
concerto (the reworking of compositions from
over a decade earlier may be seen as marking
a new beginning for the 27 year old
composer). The concerto is in a form dear to
Liszt: a concert Allegro with interpolated slow
movement and a coda in the character of a
scherzo, with many recitative-like musings at
the structural divisions. The opening presents
the principal theme—derived from the Allegro
di bravura, but in the guise of an introduction
with cadenzas. The reappearance of the
orchestra indicates the movement proper, and
a triplet motif borrowed from the Rondo di
bravura leads to the full statement of the
principal theme in E flat minor (and despite
the variety of key signatures, this concerto
really is in E flat minor rather than major). The
music makes its way to D major and a martial
second theme which never reappears, and
thence to a development section which breaks
off with a short cadenza and leads to the slow
movement in G flat major, whose theme is
adapted from the one which Liszt had first
composed for his Opus 1 Variations. The
development resumes in F sharp minor and
the shortened recapitulation of the first theme
follows; the coda, finally in E flat major, is a
scherzando transformation of the first theme
with interpolated references to the slow
movement. Overall, the work's thematic
transformation is ingenious, the textures
exciting (the beginning is strangely like
Richard Strauss's 'Burleske,' with timpani
63
participating in the theme) and the thumbprint
of that elegant, ironical Lisztian genius is
present. For anyone who responds to that,
this is a wonderful discovery. Pianist: Jenő
Jandó Conductor: Lamberto Gardelli
Orchestra: Hungarian State Symphony
Orchestra.
Franz Liszt. GRANDE FANTAISIE
SYMPHONIQUE, S120 (24:35) [Jenő Jandó.
Orchestra: Budapest Symphony Orchestra.
András Ligeti] In 1831, Hector Berlioz
composed the first version of his monodrama
Lélio, ou le retour à la vie (Lelio, or the return
to life) as a sequel to the Symphonie
fantastique; Liszt, who was amongst Berlioz’s
staunchest admirers, had already transcribed
the Symphonie for solo piano, but there was
no chance of his doing the same for its
sequel. Instead, and much to Berlioz’s liking,
he used just two themes from Lélio to
construct a large-scale work in two joined
parts: the Grande Fantaisie symphonique.
The important word here is ‘symphonique’,
which Liszt is using here for the first time; the
work being an epic mix of Berliozian devilry
and pure unfettered Lisztian inspiration, with
orchestral writing that is full, noble and of
symphonic proportions, and the piano part,
although a proper solo part, fully integrated
into the orchestral texture. The original
manuscript of this work, long undiscovered,
surfaced at auction in France in 1998, and it
revealed immediately that Liszt carried out his
own orchestration—it is astonishing that there
are still commentators who believe the hoary
myth that Liszt only began to study
orchestration in his Weimar years, and that
much of his instrumentation was done by
other hands. This is nonsense, and the Lélio
Fantasy shows it to have been so from the
beginning. Liszt’s fantasy is constructed about
the ballad for tenor and piano Le pêcheur
(The fisherman), the first musical number in
Lélio, and the third number—a song for
baritone, men’s chorus and orchestra called
Chanson de brigands (Brigands' Song).
Berlioz’s ballad has two printed versions of the
melody of The Fisherman to allow for
performance in German as well as French

(the original poem is by Goethe), and Liszt
generally uses the ‘German’ melody, which
begins many phrases on an extra upbeat, but
for the piano cadenzas he uses the ‘French’
melody, which begins more starkly on the first
beat of the bar. Liszt prepares the arrival of
the theme with an imaginative introduction
which hints darkly at the prospect of some
expansive melody, which finally appears as a
piano solo (after a brief cadenza), and then in
dialogue with the oboe. The first development
of the theme is a dramatic recitative, which
dies away with a trill, and the second part of
Berlioz’s melody is introduced. Both parts of
the melody are developed at length, and
foreign tonalities are explored, the section
ending with a stupefying explosion from the
soloist onto bare, stentorian octave C sharps
which introduce what is effectively the second
movement, in 6/8 still, but much livelier. C
sharp becomes D flat in B flat minor, and we
are led to F major for the Brigands’ Song,
where Liszt alternates between preserving
Berlioz’s orchestration and arranging the
repeated phrases for solo piano; he continues
to follow Berlioz to the end of the tutti passage
and then gently takes the musical reins, first
by arranging, then by developing the material,
until the music bursts into 2/4 and a passage
in repeated chords brings this part of the
movement to a full close, and a new pair of
themes is introduced. Where these new
themes come from is a mystery; they are
certainly not in Lélio, nor do they seem to be
among Berlioz’s published works (still, their
inclusion here must have met Berlioz's
approval, since he conducted this works' first
performance). The first of these themes is
presented in conjunction with the repeated
chords aforementioned at 15:26 (the second
mysterious theme at 15:52) and then part of
the Brigands’ Song is subjected to chromatic
development, culminating in a cadenza; the
recapitulation of the song is then decorated
with repeated notes from the piano and col
legno accompaniment from the strings. After a
repeat of the tutti the coda begins with a
reprise of the Fisherman’s Song, before
resuming the faster tempo and returning to the
64
material of untraced origin, interspersed with
fragments of the Brigands’ Song to bring
together the threads of the twenty-three-year-
old Liszt’s very confident composition. Pianist:
Jenő Jandó Conductor: András Ligeti
Orchestra: Budapest Symphony Orchestra
Franz Liszt. HUNGARIAN FANTASY (1852)
[15:28] (François-René Duchâble. London
Philharmonic Orchestra. James Conlon) Franz
Liszt (Hungarian Liszt Ferencz, in modern
usage Liszt Ferenc ((October 22, 1811 – July
31, 1886) was a 19th-century Hungarian
composer, virtuoso pianist, conductor, teacher
and Franciscan tertiary. Fantasie über
ungarische Volksmelodien, S.123 (1849-52)
Based on the Hungarian Rhapsody No. 14, S.
244/14 Dedication: Hans von Bülow (1830–
1894) François-René Duchâble and the
London Philharmonic Orchestra conducted by
James Conlon Description by Steven Coburn
[-] Liszt's single-movement concerto titled
Hungarian Fantasia (1852) is in the same
style and tradition as the composer's
Hungarian Rhapsodies; in fact, the Fantasia is
comprised mainly of material from the
Hungarian Rhapsody No. 14, S. 244, slightly
rearranged and augmented by an orchestral
accompaniment. (Even though the Fantasia
was published before the Rhapsody, it is likely
the solo incarnation was written first; the exact
compositional dates of the Rhapsodies are
unclear.) Structurally, the Fantasia differs from
many of the Rhapsodies, which generally
present a clear succession of three traditional
Hungarian dances: the lassan, czifra, and
friska. Although these dances are evident in
the Fantasia, particularly in the long and
brilliant friska section, much of the material is
derived from the famous bold, marchlike
theme of the first prominent forte passage.
Liszt also treats a wide variety of material
more freely in its combinations and
juxtapositions than is usual for this type of
work. Whether its large scale was the result of
its orchestral expansion, or the inspiration for
it, the result is one of Liszt's most popular and
successful efforts.

Franz Liszt. TOTENTANZ (14:58) Composed
by Liszt (1838, revised later and finished in
1859). Played by Enrico Pace, 1989 at the
Liszt Competition, Utrecht, Netherlands. 1st
prize.
Aram Khachaturian. TOCCATA (1932)
[4:56] (Ruben Yessayan)
AS OF MARCH 20, 2020
Robert Schumann. PIANO SONATA No. 1
in F# minor, op. 11 (29:30) [Murray Perahia]
A sonata which illustrates beautifully
Schumann’s narrative approach to the form,
featuring typically vivid flights of fantasy bound
together by the device of a falling perfect 5th.
The falling 5th is first heard in the LH in the
introduction [and is highlighted at 1:17 and
1:23], before it opens the main body of 1st
movement [2:37] (with constant recurrences -
2:56, 3:00 etc). The 2nd movement unfolds
over a sustained 5th in the bass, while the
melody is punctuated by falling 5ths in the LH
[12:56, 13:03, 14:29 etc], still with the same
insistent dotted rhythm. In the 3rd movement
the falling 5th appears in the LH at 16:04, and
in the 4th movement the dotted falling 5th
features prominently in the second theme:
19:56. 00:00 -- Mvt 1. Featuring an
extraordinary introduction, with a melody fully
formed enough to be considered a self-
contained entity. Even when the introductory
theme returns at the centre of the ensuing
Allegro [9:15!], its reappearance seems to be
an interruption, a sudden space opening in the
midst of profound violence. In reality, of
course, the introduction is a startlingly original
bit of long-range anticipation, since its falling
5ths bind the whole work together. Note also
the rapid harmonic turns of the allegro, and
the way the falling 5th is absorbed into the
ornamentation. 12:37 -- Mvt 2, Aria. Based on
a song Schumann wrote when he was 18. It is
significant that the falling 5ths were not in the
original. Liszt singled out this movement for
special praise, calling it ‘a song of great
passion, expressed with fullness and calm’.
15:22 -- Mvt 3. A scherzo with two trios. The
65
first quasi-trio's opening bars are underpinned
by the 1st movement’s ‘rocking’ fifths motif,
played pianissimo leggierissimo. The second
trio ('Intermezzo') is a lovely parody of a
polonaise, and Schumann marks it,
appropriately enough, Alla burla, ma
pomposo. There is a further surprise in store
before the scherzo returns: a recitative, with a
lone oboe rudely silenced by the whole
orchestra, before the scherzo returns *at the
wrong pitch* —a typically Schumannesque
touch. 19:33 -- Mvt 3, Finale. A sonata-rondo
featuring some pretty cool textures: tremolos
mimicking a crescendo over a drum roll; a
staccato passage near the close, marked
quasi pizzicato; tutti chords punched out at top
speed [22:17]. Notice how Schumann, with
wicked inventiveness, pushes a duple-metre
theme into the strait-jacket of three beats to
the bar: rhythmic playfulness was one of the
hallmarks of his style. The dramatic
differences between this movement's two
themes mirror the characters which
Schumann quasi-allegorically adopted when
composing: Florestan and Eusebius
(representing the more turbulent and reflective
sides of his character respectively). Perahia
handles the interpretative challenges of this
difficult work extremely well: the rhythms are
vital and intense, the knotty passages clear,
the contrasts sharply (but not
schizophrenically) outlined, and there is a
clear sense of a coherent whole (often difficult
to achieve in Schumann).
Robert Schumann. PIANO SONATA No. 2
in g minor, op. 22 (18:01) [Nakamatsu]
Schumann’s final (and mis-numbered) sonata
is one of the most compelling in the genre. It
is by some distance Schumann’s most taut,
being only half as long as the other two, and
yet thematically and structurally it is extremely
rich, with all of Schumann’s typically
fantastical textures and ideas emerging
undimmed. To see how complex the Op.22 is,
you just need to observe that every single
movement has some serious structural
innovation going on: the last movement is a
sonata-rondo in ABACABACADA form
(although you can even see it as

ABCADABCADAEA!) with two apparent
development sections, the tiny third
movement’s trio is given some serious
developmental treatment when it recurs, the
second movement is a fusion of ABA + theme
and variation + monothematic sonata form,
and the first movement has so many ideas
that it’s hard to figure out exactly where
Theme 1 ends and Theme 2 begins (you
could just as plausibly say that Theme 2
begins at 00:51, for instance). Nakamatsu’s
playing in this sonata is superb. For a start,
the tempi are carefully judged: in the first
movement Schumann straightaway tells the
pianist to play "so rasch wie möglich" (as fast
as possible), only to write in the coda
"schneller" (faster), and, in the concluding
bars, "noch schneller" (even faster)!
Nakamatsu is one of the few pianists who gets
what this apparent absurdity is all about: he
takes the first movement at a ferocious speed,
losing none of the clarity in contrapuntal
passages, but holds back the barest scintilla
of energy for the coda, where he finally floors
it – note also how he liberally changes tempo
in the exposition to delineate different themes.
His second movement is played with
sensitivity and warmth, the third is perky and
precise, and the finale thrums with nervous
energy, with every gorgeous contrapuntal line
perfectly voiced. A striking example of
Nakamatsu’s fine dynamic control is the eerie
“floating” pianissimo at 17:29. 00:00 – Mvt I,
So rasch wie möglich (“As quickly as
possible”) 05:57 – Mvt II, Andantino.
Gegtragen (“Stately/solemn”) 11:13 – Mvt III,
Scherzo. Sehr rasch und markiert (“Very
quickly and marked”) 12:47 – Mvt IV, Presto
MVT I EXPOSITION 00:00 – Theme 1 00:20 –
Transition 00:32 – Theme [complex] 2, motif 1
00:38 – Theme 2, motif 2 00:51 – Theme 2,
motif 3 01:14 – Theme 2, motif 4 (connected
to T.1) DEVELOPMENT (note near-constant
sequential treatment of themes) 02:45 –
T.2/m.1, LH, joined at 2:48 by RH 02:51 – T.1
(in canon) 02:55 – T.2/m.1 02:58 – T.1 03:01
– T.2/m.1 03:09 – T.2/m.2 + T.2/m.3 03:21 –
Introduction of RH figuration recalling T.2/m.3
at 1:01 03:30 – T.1 03:50 – False
66
recapitulation. One last sequential treatment
of T.1/m.1 before – 04:09 –
RECAPITULATION (T.2 now modulates to the
parallel major (G maj), rather than the relative
major (Bb maj) 05:25 – CODA (note the
amusing tempo indications, which read
“Faster” here and “Even faster” at the
restatement of T.1, despite the fact that the
pianist has earlier been instructed to play “As
fast as possible”.) 05:35 – T.1 restatement
MVT II 05:57 – “A” Section [Quasi-exposition]
06:49 – “B” Section (Var.1) [Quasi-
development] 07:43 – “B” Section (Var.2)
(Note extensive key changes) 09:09 – “A”
Section [Quasi-recapitulation] 10:01 – Coda
MVT III 11:13 – Scherzo, T.1 11:19 –
Scherzo, T.2 (Note how the phrase structure
erases your sense of the bar line – a typical
Schumann-ism) 11:29 – Trio (recalling Mvt 1,
T.2/m.3 with its gentle syncopation) 11:39 –
Scherzo, T.1 11:43 – Scherzo, T.2 11:53 –
Trio (Note the highly developmental nature of
this repeat, where the trio is presented in 2
different variants of the original, both of which
are considerably more dramatic than the
original) 12:32 – Scherzo, T.1 12:36 –
Scherzo, T.2 MVT IV QUASI-EXPOSITION
12:47 – “A” theme (G min, recalling T.1 of Mvt
I) 13:09 – “B” theme (Bb maj, with long and
heavily syncopated transition section at 14:04)
QUASI-DEVELOPMENT 14:27 – “A” theme
(Bb min, sequential) 14:42 – “C” theme
(integrating fragments of A in LH) QUASI-
RECAPITULATION 14:55 – “A theme (G min)
15:15 – “B” theme (Ab maj) QUASI-RE(!)-
DEVELOPMENT 16:32 – “A” theme (Eb min,
sequential) 16:46 – “C” theme QUASI-RE(!)-
RECAPITULATION 17:00 – “A” theme (G min)
17:29 – “D” theme (CODA) 17:48 – “A” theme
(final recollection of main subject)
Robert Schumann. PIANO SONATA No. 3
in f minor, op. 14 (29:21) [Bernd Glemser] An
exciting and subtle performance from
Glemser. For Schumann, the sonata was
more of an exploratory narrative rather than
an architecture -- his form is always organic,
idiosyncratic. The third sonata is particularly
hard to interpret as a coherent whole, as it is
bursting at the seams with incredible ideas

stacked one on top of the other in rapid
succession: in the 1st + 4th movements lyrical
melodies are pulled taut across madcap
scales and arpeggios; the rhythms are
obsessively dotted, in typical fashion; there's
lots of hair-raising gear-shifting and
scampering pianissimo passages that turn to
mush if you seeks safety in the sustaining
pedal. Glemser's performance is a triumph
precisely because it manages to bring unity
and clarity to such a bedazzlingly inventive
work. It is a testament to the musical value of
this seldom-played work that it was premiered
five years after the composer’s death by
Brahms, who loved it very much. 00:00 -- Mvt
1, Allegro brillante: Schumann places
emphasis on the intermezzo-like transitions
from one theme to another, elevating them to
thematic status in Beethovenesque style. The
development section, which begins with a
false reprise [3:30] as memorable as it is
deceptive, stresses some of the apparently
trivial motivic material of the exposition. 07:52
-- Mvt 2, Scherzo -- Notice that opening of the
Scherzo anticipates the "Clara" theme of the
third movement. The movement features
some fascinating contrapuntal textures [see
the passage beginning at 12:08]. 14:00 -- Mvt
3, Quasi Variazioni. A deeply moving set of
variations built around the same Clara theme
(the notes spell out CLARA in German) that
Brahms used in his Schumann Variations
(https://www.youtube.com/watch?
v=sVLGC...), and which is *already present* in
the first movement's dramatic LH opening
statement. The theme as used here is strange
in form -- a series of four-measure units
arranged AABBCC, lacking the expected
restatement at the end. In the four variations
the theme is never found in its original twenty-
four-bar form. Sometimes it is shortened: in
Variation 1, the form becomes AABAA; in
Variation 3, which is cast in binary form, the A
theme is followed only by B. At other times,
the theme is expanded: in Variation 2, the
“expected” reprise (AA) is added at the end; in
Variation 4, a two-measure version of A is
followed by a six-measure version of B, after
which a substantial coda is appended. 22:20
67
-- Mvt 4, Prestissimo possibile. This
movement features wildly inventive textures
[25:17], spikily humoresque-ish figuration, and
the relentless superimposition of puzzling
rhythms over the basic meter in an effort to
destroy the listener’s sense of the bar line.
The opening figuration is yet another veiled
reference to the Clara theme, and the finale
features some gloriously colourful writing.
Robert Schumann. FANTASIE in C, op. 17
(29:33) [Leif Ove Andsnes] 00:00 –
Durchaus phantastisch und liedenschaftlich
vorzutragen 12:21 – Massig. Durchaus
energisch 19:10 – Langsam getragen.
Durchweg leise zu halten An almost
cathartically intense performance of
Schumann’s most important large-scale piano
work, and one of the most important in the
entire period. The Op.17 Fantasy is
remarkable for many reasons – the bedazzling
variety of its textures, its addictive quirkiness
(Schumann probably had the most acute
sense of the fantastic among all the Romantic
composers), its expressive power (especially
in the uplifting final movement). But one
feature not often noticed is the structural
complexity of the first movement, which
represents Schumann’s most successful
engagement with sonata form. The biggest
mystery of the first movement is the notorious
Im Legendenton [04:43], which though
beautiful seems to constitute a massive
disruption of the development section [which
begins at 03:09], apparently unconnected as it
is to the rest of the movement. In fact, the Im
Legendenton is a direct outgrowth the inner-
voice theme at [0:59], and a nice example of
Schumann’s skill at conjuring new material out
of apparently nothing. Nonetheless, the Im
Legendenton is not at all a conventional
episode in a development section: the
development is meant to be unstable, and to
be open-ended – it prepares for the arrival of
the tonic and the recapitulation. But the Im
Legendenton’s structure is too well-formed, its
tonality too stable, and its posture too inward-
looking to count as a development per se.
There are other structural tricks going on here
too: the recapitulation [which begins at 08:03

in the wrong key of C minor] directly invokes
the beginning of the development(!) section [at
10:08] to firmly re-establish the tonality of C
major, an unusual step that Schumann also
takes in his other sonatas. It’s an ingenious
and natural gesture, despite its apparent
oddness: given how prominent the
development is in the movement, it seems
fitting that the recapitulation expands to
encompass material from the development
section. There’s also the fact that the opening
theme begins a pedal point on G that is never
properly resolved until the perfectly cadence
coming nearly 300 bars later – a nice instance
of long-term harmonic tension and resolution.
(This is a feature of the Op.17 as a whole – a
progression with a clear harmonic goal is
introduced, only for that goal to be
sidestepped and delayed to a much further
point.) It’s also worth noting that a lot of the
structural complexity of the first movement is
mirrored in the last. Take its opening: we’ve
got this tranquil four-bar curtain, and then 6
bars introducing the main melody. And as
soon as this melody ends we get some pretty
aggressive developmental treatment of the
first two bars of the melody [starting at 20:02]
which seems out-of-place coming so early in
the movement. And then – what appears to
have been such a promising theme simply
vanishes. It will be some time, in fact before
the main thematic material is directly
presented. There’s a lot more at work here:
the sly references between each movement,
for e.g., or the ingenuity of the first
movement’s development section. But it’s
basically impossible to get it all down here, so
just listening will have to do – though that’s
not too bad, surely.
Robert Schumann. SYMPHONIC ETUDES,
op. 13 (27:24) [Ivo Pogorelich] A startling but
profoundly revelatory account of Schumann's
great set of variations. Pogorelich plays with
exemplary clarity and rhythmic tautness, but
the most important feature of his playing is its
consistent sense of the fantastic, evinced by
tempi that often sound extreme on first blush,
but quickly grow on you. 00:00 -- Theme,
Andante. Grief-stricken, still. 02:01 -- Etude 1,
68
Un poco piu vivo. Richly contrapuntal,
dynamically lush. The harmonic outline is
maintained, but the variation veers sharply
away from the theme in character. 03:10 --
Etude 2, Marcato il canto. Dark, fantasy-like,
with steely melodies in the outer voices. 07:27
-- Etude 3, Vivace. A study in the generation
of smooth, dolce, staccato sounds. 08:43 --
Etude 4. Jagged and stark, rich with canonic
motion. 09:37 -- Etude 5, Scherzando. The
rhythm is as propulsive as ever, but the mood
is one of vivacissimo lightness. 10:44 -- Etude
6, Agiato. Chordal hijinks, leaps, and frenetic
interplay between both hands come together
to create a brilliant, bewildering, contrapuntally
dense explosion of musical colour -- all
precise as an atomic clock. 11:34 -- Etude 7,
Allegro molto. Schumann takes a seemingly
naive idea from the second bar of the theme
(a repeated G#) and goes to town with it,
creating a vigorous, muscular musical gem
suffused with unexpected harmonic leaps.
12:47 – Etude 8, Sempre marcatissimo. A true
compositional marvel. Canonic/fugal textures
merge with dramatic, bitter, French-overture
gestures, treacherous leaps, and
heartbreaking harmonies. The tempo
Pogorelich chooses here allows every voice to
be painstakingly singled out, and creates
some genuinely transcendent moments. 16:11
– Etude 9, Presto possibile. Rapid fistfuls of
chords, played with air and (only apparent)
effortlessness, before sudden harplike
figuration and a silkily eerily diminished
arpeggio bring the variation to a close. 16:48 –
Etude 10, Sempre con energia. Pogorelich
brings exhilarating physicality to bear on this
variation, with a surging, scalar bass line set
off against repeated notes in the RH. 18:02 –
Etude 11, Andante expressivo. An exquisitely
crafted variation, with quintet polyrhythms and
stunning counterpoint (often featuring voices
which drift very far from each other) sustained
over a murmuration of modified Alberti bass.
The textural shading which Pogorelich
manages to pull off here is pretty incredible.
21:42 – Etude 12, Allegro brillante. Not really
a variation on a theme, but a triumphant close
with a march-like sense of rhythm and

purpose. Measure 50 is pure fanfare: A long
pedal tone in A-flat, a middle voice echoing
the opening theme, and on top dotted 16ths
billowing like sails in the wind. Pulled off by
Pogorelich with inimitable swagger.
Robert Schumann. FASCHINGSSCHWANK
AUS WIEN (Carnival Scenes from Vienna)
[21:44] (Arturo Benedetti Michelangeli)
Composer: Robert Schumann (8 June 1810 --
29 July 1856) - Performer: Arturo Benedetti
Michelangeli - Year of recording: 1957 (live at
Royal Festival Hall, London, UK)
Faschingsschwank aus Wien
("Phantasiebilder") {Carnival Scenes from
Vienna}, for piano, Op. 26, written in 1839.
00:00 - I. Allegro (Sehr Lebhaft), B-flat major
09:47 - II. Romanze (Ziemlich Langsam), g
minor 12:34 - III. Scherzino, B-flat major 14:47
- IV. Intermezzo (Mit Größter Energie), e-flat
minor 16:56 - V. Finale (Höchst Lebhaft), B-
flat major Schumann's "Faschingschwank aus
Wien" is a rather unusual work in five
movements; it is more integrated than a suite,
but not quite a sonata. He wrote the first four
movements in Vienna, and the last on his
return to Leipzig. Eric Sams has noted that the
word "Faschingschwank" contains the letters
ASCH SCHA in that order of appearance, and
that Schumann used these notes in sequence
as melodic material for this work. Robert
Morgan has noted Schumann's use of Ludwig
van Beethoven's Op. 26 as a model in this
work, and also Schumann's use of musical
symmetry. David Neumeyer has noted the
similarity of the first section to the Valse
Noble, Op. 77, No. 7 (D. 969) of Franz
Schubert. - The first movement is the longest
and one of the more virtuosic, this piece is
notable for its innovative rhythms and its brief
quote of "La Marseillaise." Of all the pieces of
Faschingsschwank, this one is the least
single-minded in its structure, introducing
entirely new themes occasionally, only to be
brought back repeatedly to two repeated
motifs from the beginning. The piece comes to
a crashing close with almost dissonant seven-
on-three arpeggios. - The second movement
is probably the least virtuosic of the works,
taking only a page of music. Despite its
69
shortness and apparent ease, this is
undoubtedly the saddest piece in the set.
Despite the fact that most of the work is in G
minor, the final measure brings a resolution
into G major. - The third movement, much as
the title suggests, is a playful respite between
two somber movements. A syncopated
rhythm, with a melody based almost entirely
on notes of the major chord, keeps the
movement light and bouncing throughout, with
the possible exception of the last run, a
progression of octaves into a quick and bright
cadence. - The fourth movement (Intermezzo)
is marked by its flowing sound, created by
keeping a steady stream of right-hand notes in
the background, interspersed with melody
notes. The piece, almost entirely based on
transpositions, appears difficult at first due to
its speed (some musicologists have remarked
that Schumann's metronome was calibrated
such that it went faster than it should have,
due to extreme tempi such as this one). While
the background notes in the right hand do
indeed move extremely fast, the melody is
more singing. The background notes are
mostly suited to the shape and position of the
hand, despite a few leaps of the melody; in
the end, the left hand takes a modified, E-flat
major version of the E-flat minor melody,
under the right hand. The work is a
melancholy and emotionally charged display
of a pianist's capability to convey feeling. -
The fifth movement (Finale) begins with
triumphant announcements in B-flat octaves,
interspersed with brilliant moving thirds. This
section is the second longest, lasting about
half the length of the first movement. The
patterns seen in the Finale are somewhat
reminiscent of Beethoven's compositional
style, using a melody that moves in both
hands, while both hands also play unchanging
notes beneath the melody. The energetic runs
of the final bars bring the set to a dramatic
close. The work is dedicated: "Simonin von
Sire in Dinant gewidmet".
Robert Schumann. ABEGG VARIATIONS,
op. 1 (7:32) [Jorg Demus]

Robert Schumann. ALLEGRO, op. 8 (8:36)
[Jorg Demus]
Felix Mendelssohn. VARIATIONS
SERIUSES, op. 54 (1841) [12:25]
Robert Schumann. PAPILLONS, op. 2
(13:15) [Jorg Demus]
Robert Schumann. ETUDES AFTER
PAGANINI CAPRICES, op. 3 (12:48) [Jorg
Demus]
Franz Liszt. SONATA in b minor (30:38)
[Zimerman] A stupendous recording of what is
(by academic consensus, at least) the most
important post-Beethoven sonata. Along with
Andre Laplante's recording this is probably
one of the pinnacles of classical Romantic-era
pianism. (Zimerman took 76 takes before he
managed to get a recording of the Sonata he
was satisfied with.) The structural brilliance of
this piece is nearly unmatched among the
large-scale piano works of the period; the
sonata opens with a deliciously harmonically
ambiguous descent, and ends with a tritone
harmonic leap that manages to sound kind of
beautiful. The sonata is constructed from five
(or, depending on your choice of academic,
four, or seven, or nine) motivic elements that
are woven into an enormous musical
architecture. The motivic are relentlessly
transformed throughout the work to suit the
musical context of the moment. A theme that
in one context sounds menacing and even
violent, is then transformed into a beautiful
melody (compare 0:55, 8:38, 22:22, 26:02).
This technique helps to bind the sonata's
sprawling structure into a single cohesive unit,
and is a pretty cool example of double-
function form (on which, more below). Michael
Saffle, Alan Walker, and others contend that
the first motive appears at the very start of the
piece until bar 8, the second occurs from bar 9
until 12 and the third from measures 13 to 17.
The fourth and fifth motives appear later in the
piece at measures 105-108 and 327-338
respectively. Broadly speaking, the sonata
has four movements although there is no gap
between them. Superimposed upon the four
movements is a large sonata form structure,
70
although the precise beginnings and endings
of the traditional development and
recapitulation sections has long been a topic
of debate. Charles Rosen states in his book
The Classical Style that the entire piece fits
the mold of a sonata form because of the
reprise of material from the first movement
that had been in D major, the relative major,
now reprised in B minor. Walker believes that
the development begins roughly with the slow
section at measure 331, the lead-back
towards the recapitulation begins at the
scherzo fugue, measure 459, and the
recapitulation and coda are at measures 533
and 682 respectively. Each of these sections
(exposition, development, lead-back, and
recapitulation) are examples of Classical
forms in and of themselves, which means that
this piece is one of the earliest examples of
Double-function form, a piece of music which
has two classical forms occurring
simultaneously, one containing others. For
instance the exposition is a sonata form which
starts and ends with material in B minor,
containing the second part of the exposition
and development wandering away from the
tonic key, largely through the relative major D.
Similarly, the development section also
functions as the scherzo movement of a more
traditional multi-movement sonata.
Johannes Brahms. VARIATIONS ON A
THEME OF PAGANINI, op. 35 (23:34)
[Kissin] Brahms was not a showman, and
rarely wrote music which aimed at being
technically difficult. But when he did, he out-
Liszted Liszt. The Paganini Variations, as you
can tell from their main title, are not just a
fully-fledged concert work but also a set of
exercises for study, featuring technical
challenges that are often more than a little
obscene [19:24]. As always, the variations are
also musically dazzling in their variety and
invention. Kissin plays the faster variations
with astounding bravura, [11:29] dynamic
control [16:05], and articulation [16:49], and is
exquisitely delicate in the slower ones [07:45].
Book I 00:00 – Theme 00:25 – Var.1.
Churning sixths and thirds. Already extremely
difficult. 00:49 – Var.2. Sixths in the LH, and

rapid embellished octaves in the RH. Toybox-
like sounds. 01:14 – Var.3. A single line
divided between the hands scurries along in
the new 6/8 meter with upbeats. Repeated
notes divided rapidly between hands. 01:40 –
Var.4. Accented trills and very large
arpeggios. 02:45 – Var.5. The first quiet one.
Hand-crossing, chromaticism, contrasting
meter in both hands. 03:33 – Var.6.
Syncopation and rapid, quiet octave leaps.
03:56 – Var.7. Fiery and dramatic. Chromatic
octaves at the edges of the keyboard and
harmonies in the centre of the keyboard swing
inwards and outwards. Their movement is
reversed in the second statement. 04:21 –
Var.8. Leaps and thirds. Mazeppa-like. 04:47
– Var.9. Harmonic movement twice as slow as
in earlier variations. Chromatic chords in RH
against repeated octaves in tripet rhythm in
LH. 06:07 – Var.10. Hand-crossing,
syncopation. 07:45 – Var.11. The first of two
major-key variations. Both hands in a high
treble register playing expressive, steady,
“tinkling” harmonies. In this variation, there are
four full “repetitions,” as each two-bar unit
uses the same exact material. The only
variety comes from touch and dynamic
change. 09:30 – Var.12. Continues the music
box character of Var.11. RH has leaping,
meandering arpeggios in the high register in
triplet rhythm, the LH (beginning with an
upbeat), in opposite motion in “straight”
rhythm. 10:56 – Var.13. A “gypsy” variation,
with difficult glissandi. 11:29 – Var.14. A
stunning finale to Book I, really three
variations rolled into one. The RH and LH
pass a rapid scale between them, taking
breaks to leap to two repeated notes and a
punctuating octave. Trills intensify the
variation, and then a huge cascade of
arpeggios takes over. Repeated notes and
vast rapid leaps. A trill emerges, is sustained,
fades away, and becomes a drone over which
a new variation is established. After a while
the drone disappears altogether and broken
octaves punctuated by sharp accents take
over. Book II 13:11 – Var.1. Octave leaps,
thirds. 13:56 – Var.2. Polyrhythm. Winding
octaves and arpeggios. 14:31 – Var.3.
71
Ascending thirds punctuated by octaves.
Double notes. 15:00 – Var.4. A lilting waltz.
16:05 – Var.5. Dotted octaves, fleet-footed
descending triplets. 16:28 – Var.6. Large,
arching arpeggios with sharp, crushing
embellishments. 16:49 – Var.7. A masterpiece
of disguised complexity. A barely discernible
but disorientating upbeat in the LH. 4 against
3 against 9 polyrhythm, later turned to 8
against 9. A chromatic line (the top note of an
arpeggio) set of against octaves. Hands
switch roles in second half. 17:07 – Var.8.
Arpeggios in contrary motion. Meant to evoke
a violin. (Kissin plays the repeats using the
ossia). 17:35 – Var.9. A stark study in legato
octaves. 18:35 – Var.10. Huge arpeggio
sweeps, with extended harmonic
displacement and “delay”. 19:24 – Var.11.
Nearly impossible to play. Skittish and
scherzo-like. Essentially a scale with hands
moving in strict contrary motion, alternating
octaves and single notes *outside of the
preceding octave*. 19:48 – Var.12. A
nocturne, the only variation not in A
major/minor. Hemiolas (3/4 against 6/8),
syncopation, inner voices. 21:08 – Var.13.
Long scalar descents in the gypsy scale,
featuring very delicate voicing in both hands.
22:16 – Var.14. Four variations in one. The
first is scherzo-like, with the 2/8 meter
speeding it up even more. Descending scales
over a detached right hand. The second
features double-note harmonies in groups of
two passed between the hands. The third
features smooth arching leaps and descents,
in unison an octave apart. In the fourth 2/8
becomes 2/4 and triplet rhythm appears, and
after a pregnant pause on a deceptive
“dominant” chord, Brahms’ much-beloved
polyrhythms close the work.
Johannes Brahms. VARIATIONS ON A
THEME BY HAYDN, op. 56b (16:56)
[Argerich, Freire] An exquisite set of
variations. More than nearly anything else in
Brahms’ piano oeuvre, the Haydn Variations
(not actually based on a theme of H’s, as it
turns out, but then misattribution was common
before copyright become commonplace) are
full of heartfelt warmth and generosity.

Argerich and Freire’s performance is near-
perfect: the voicing is precise, the rhythmic
complexity handled deftly, the climaxes robust
and exuberant, the soft passages melting. The
piece consists of a theme (unusual in
featuring 2 prominent 5-bar long phrases),
followed by 9 variations. As always, Brahms’
focus is on the bass line: the variations
preserve the harmonic relationships and the
structure of the theme, if not its melody, and
take you through an extraordinary range of
textures and emotions. Especially spectacular
is the final variation, constructed as a
passacaglia on a recurring five-measure
ostinato derived from the bass supporting the
theme, which features some glorious
contrapuntal writing, and moments of exultant
joy [13:49, 15:47] interspersed with tender
passages [14:38]. Note the clever use of
canonic imitation in the beginning of the
passagaclia: the first four notes of Piano I,
you’ll notice, have actually already appeared
in the LH of Piano II, and the next four notes
you hear from the LH in Piano I (B, C, Bb, A)
are almost immediately repeated (transposed)
in the RH of Piano I (E, F Eb, D), and then in
the RH of Piano II (A, Bb, Ab, G). 00:00 –
Theme 01:59 – Var. 1. A murmuring, gently
exultant variation which begins by picking up
on the last repeated notes of the theme. 03:01
– Var. 2. A dramatic foray in the parallel
minor, featuring one of Brahms’ favourite
devices: layering triplet and duplet rhythm.
03:58 – Var. 3. A delicate and painstakingly
constructed contrapuntal episode. With the
exception of the final variation, this one comes
closes to preserving the melodic sense of the
original theme. 05:44 – Var. 4. Solemn,
recitative-like, sometimes almost bleak. 07:29
– Var. 5. A busy-scherzo-like variation which
turns the repeated notes of the theme into an
underlying texture and which is a natural pair
with the next variation. 08:22 – Var.6. A rich,
rhythmic, sumptuous variation, featuring some
of the most dramatic writing in the set [9:26].
09:38 – Var.7. Tender and lyrical, with a
lullaby-like rocking rhythm. 12:24 – Var.8. In
sharp contrast to Var.7, Var.8 is an eerily
muted harmonyscape, with long winding lines
72
and occasional ethereal glimpses of the
original theme emerging before being
submerged. Note the use of imitative
counterpoint throughout the variation. 13:13 –
Var.9 (finale). A gorgeous passacaglia.
Ludwig van Beethoven. 32 VARIATIONS in
c minor, WoO 80 (32:45) [Perahia,
Mustonen, Kissin] B. had a huge natural gift
for variation form, but of the 21 sets of
variations he wrote, he only saw fit to give
opus numbers to 4 of them. It’s hard to tell
exactly why this set never made it, though it’s
not so surprising, perhaps, that B. didn’t think
too highly of it (there’s an anecdote –
unverified – that B. dismissed this set later in
life when he heard someone else playing it,
saying “Oh, Beethoven, what an ass you were
in those days!”). The WoO 80 has none of the
Diabelli’s deconstructionist, hyper-
architectural leanings, or any of the Eroica’s
exploratory playfulness and warmth. Its theme
is incredibly short (even terse), none of the
variations undertakes any daring
transformations of it, and compared to the
Diabelli or Eroica the expressive space it
occupies is small and overwhelmingly
pessimistic – it’s almost always tragic, stormy,
threatening, or moody. But it’s these very
features which combine to give this set of
variations a concision, power, and expressive
directness that’s made it popular ever since
publication. The WoO 80 is stylistically
Baroque, being a mix of passacaglia and
chaconne. The theme consists of both a bass
which crawls chromatically downward (while
the treble rises from a C to Ab), and a more
general harmonic progression. Some
variations – the passacaglia-like ones (Vars.1-
4, 9, 23-25, 30, 33) – focus on the
chromatically descending bass, happily
substituting out harmony for colouristic effects
as long as bass’s voice-leading is preserved.
So the C dominant 7th harmony of the 3rd bar
might become a Bb diminished 7th (Vars.1-2)
or even Gb (Var. 3, where there’s a lovely
chromatic slide from G to F via Gb). The
German augmented 6th chord in bar 5 might
similarly turn into a D dominant 7th or a Eb
diminished 7th, and bar 6’s F minor chord

might turn into a D diminished 7th (both
happen in Var.24). And then some variations
– the chaconne-like ones – forget about voice-
leading almost completely and play only on
the basic harmony of the theme, but often use
the harmonic substitutions already mentioned.
It’s interesting to note that the major variations
don’t quite fall into either camp, since they are
built around a new, mostly *rising* bass line
(C-B-C#-D-D#-D-F-F#-D) that’s closely linked
to the harmony of the original theme and the
contour of its treble (that rise from C to G).
One of the nice side-effects of the
straightforwardness of this set of variations
(as well as the sparse performance directions)
is that it lends itself to a huge range of
interpretive approaches. Perahia has the most
natural approach to the WoO 80 – tempi are
well-judged and kept remarkably steady, even
between variations, and the dynamic control is
superb throughout. Mustonen, whose
interpretation is crystalline and brittle, reminds
me of a modern-day Gould – he’s got an
aversion to pedal and a fondness to hyper-
staccato playing which you hear right from the
theme’s opening. He’s also got a rather
drastic way of tapering phrases and slurs – in
Var.7 the end of each phrase is nearly
inaudible, as are the second notes of each
slurred pair in Var.33. At Var.18 you can hear
how even and detached scales are – it sounds
like you’re unzipping the piano, almost.
Var.23, usually murkily tragic, is given a
menacing, pointillistic rendering. Kissin, as
always, has a very expressive way with this
set: the faster variations (like the opening
ones) are taken very fast, and the slower
variations are taken a lot slower, with lots of
rubato (see Vars.5, 15-16. There is also some
very beautiful contrapuntal (Var.17), and con
brio (Var.26-27, 29) playing, and the aura of
mystery which pervades Vars.31 and 32 is
perfectly captured.
Ludwig van Beethoven. 6 VARIATIONS ON
AN ORIGINAL THEME in F, op. 34 (39:35)
[Mustonen, Lortie, Korstick] The Op.34
Variations can come across as slight (if very
beautiful). In fact, they’re one of the most
important sets of variations ever written, as
73
they represent B.’s most successful attempt at
large-scale organization in theme and
variation form. A bit of context on this. The
major problem of theme and variation form is
that – if you think about it – the form has no
natural sense of order or finality (contrast this
to sonata form). You can, in principle, keep
varying on forever, and once the variations get
going there is no natural impulse which
checks the momentum you’ve built up. One
standard way of solving this problem is to use
a fugue to end (or almost-end) a set of
variations, since a fugue represents the most
thorough and internally rigorous way of
examining a theme – you put it at the end to
say, “And now there’s really nothing more to
be said about this theme.” This is what B.
does in the Diabelli and Eroica, and what
Brahms does in the Haydn/St Antoni. Another
method is to imply some large-scale
movements within a set of variations:
Rachmaninoff was particularly adept at this.
And yet another is to end by building into a
recapitulative structure – so in the Goldbergs
the ending is heralded by the Quodlibet, which
breaks the work’s structure by forcefully
entering where there should instead be a
canon at the 11th, which in turn clues you in to
the fact that something special’s going to
happen (the return of the aria). B. uses a little
of that last method here, but what is by far and
away the most striking aspect of the Op.34 is
how B. manages to impose a pattern of
almost Schubert-like tonal organization over
the set (B. was actually quite proud of this
novelty of having every variation in a different
key – he told his publisher to ensure that this
fact was mentioned in the printed edition). The
ingenious thing is not only that this structure
exists, but that this structure also acts as a
colouristic device: it has one foot in sonata
form (structure) and another in variation form
(in-the-moment texture). So a set of variations
that really is a highly disparate group of
character pieces (7 keys, 4 time signatures,
various dance forms) sounds coherent and
directed in a way no other set of variations B.
produced quite manages. On tonality: the
variations move down a chain of 3rds or

delayed 5ths (F-D-Bb-G-Eb-Cmin/maj-F) to
land on the dominant C, which then sets up
the return to the last restatement of the theme
(which itself is a pretty clever thing, also
serving as final variation and cadenza). It’s
striking how sonata-like this scheme is – the
end of Var.5 comes right out of a sonata's
development section. At the same time, the
largely unprepared modulations create some
really nice shifts of colour between variations.
The entrance of Var.1 in D has an open-
ended, expansive feel characteristic of
modulation down by minor 3rd (helped also by
the higher tessitura), and the move from D to
Bb also has a characteristic modulation-down-
by-major-3rd feel – something more rounded,
closed, warm. Another structural device that’s
first presented as a textural one is the vii
diminished 7th over F you hear in bar 6 and
which recurs in the 3rd-last bar of the theme.
It’s a beautiful expressive device, functioning
basically as a rootless dominant 9th floating
over the tonic. But it also chains the variations
together, because the progression of keys
through the piece means that the same
diminished 7th harmony (or something very
close to it, like a borrowed iv from the parallel
minor) is always heard in successive pairs of
variations, but each time resolving differently.
So in the theme and Var.1, you get E dim.7th
(resolving to F and D), in Vars.2-3 you get A
dim.7th (resolving to G min/Bb and G), and in
Vars.4-5 you get D dim.7th (resolving to Eb
and Cmin). There are other decorative
devices that also get given structural
treatment, such as the F pedal you hear in the
first two bars and the dotted rhythm which
closes the first phrase of the theme in bar 7:
both motifs recur constantly, with the latter
opening Vars.2, 4, 5, and 6. Some other
things worth noting: Var.5 anticipates the
second movement of the Eroica Symphony,
soon to be written after this work. The florid
decoration of Var.1 mimics the sort of
technique you usually see at the end of a set
of variations, rather than the beginning, and
Var.6 follows in the footsteps of the Goldbergs
in using something festive and celebratory to
anticipate the end of the piece.
74
Gustav Mahler. SYMPHONY No. 2
(Resurrection) [1:33:41] New York
Philharmonic cond/ Leonard Bernstein (DG)
with Barbara Hendricks (soprano), Christa
Ludwig (mezzo-soprano), The Westminster
Choir, Joseph Flummerfelt 0:00 - 1. Allegro
maestoso. Mit durchaus ernstem und
feierlichem Ausdruck (With complete gravity
and solemnity of expression) 25:06 - 2.
Andante moderato. Sehr gemächlich. Nie
eilen. (Very leisurely. Never rush.) 37:13 - 3.
In ruhig fließender Bewegung (With quietly
flowing movement) 48:36 - 4. Urlicht (Primeval
Light). Sehr feierlich, aber schlicht (Very
solemn, but simple) 54:54 - 5. Im Tempo des
Scherzos (In the tempo of the scherzo) The
Symphony No. 2 by Gustav Mahler, known as
the Resurrection Symphony, was written
between 1888 and 1894, and first performed
in 1895. Apart from the Eighth Symphony, this
symphony was Mahler's most popular and
successful work during his lifetime. It was his
first major work that established his lifelong
view of the beauty of afterlife and resurrection.
In this large work, the composer further
developed the creativity of "sound of the
distance" and creating a "world of its own",
aspects already seen in his First Symphony.
The work has a duration of around eighty to
ninety minutes and is conventionally labelled
as being in the key of C minor; the New Grove
Dictionary of Music and Musicians labels the
work's tonality as C minor–E-flat major.
Mahler completed what would become the
first movement of the symphony in 1888 as a
single-movement symphonic poem called
Totenfeier (Funeral Rites). Some sketches for
the second movement also date from that
year. Mahler wavered five years on whether to
make Totenfeier the opening movement of a
symphony, although his manuscript does label
it as a symphony. In 1893, he composed the
second and third movements. The finale was
the problem. While thoroughly aware he was
inviting comparison with Beethoven's
Symphony No. 9—both symphonies use a
chorus as the centerpiece of a final movement
which begins with references to and is much
longer than those preceding it—Mahler knew

he wanted a vocal final movement. Finding
the right text for this movement proved long
and perplexing. When Mahler took up his
appointment at the Hamburg Opera in 1891,
he found the other important conductor there
to be Hans von Bülow, who was in charge of
the city's symphony concerts. Bülow, not
known for his kindness, was impressed by
Mahler. His support was not diminished by his
failure to like or understand Totenfeier when
Mahler played it for him on the piano. Bülow
told Mahler that Totenfeier made Tristan und
Isolde sound to him like a Haydn symphony.
As Bülow's health worsened, Mahler
substituted for him. Bülow's death in 1894
greatly affected Mahler. At the funeral, Mahler
heard a setting of Friedrich Gottlieb
Klopstock's Die Auferstehung (The
Resurrection), where the dictum calls out
"Rise again, yes, you shall rise again / My
dust". "It struck me like lightning, this thing,"
he wrote to conductor Anton Seidl, "and
everything was revealed to me clear and
plain." Mahler used the first two verses of
Klopstock's hymn, then added verses of his
own that dealt more explicitly with redemption
and resurrection. He finished the finale and
revised the orchestration of the first movement
in 1894, then inserted the song Urlicht (Primal
Light) as the penultimate movement. This
song was probably written in 1892 or 1893.
Mahler initially devised a narrative programme
(actually several variant versions) for the
work, which he shared with a number of
friends (including Natalie Bauer-Lechner and
Max Marschalk). He even had one of these
versions printed in the program book at the
premiere in Dresden on 20 December 1901.
In this programme, the first movement
represents a funeral and asks questions such
as "Is there life after death?"; the second
movement is a remembrance of happy times
in the life of the deceased; the third movement
represents a view of life as meaningless
activity; the fourth movement is a wish for
release from life without meaning ; and the
fifth movement – after a return of the doubts of
the third movement and the questions of the
first – ends with a fervent hope for everlasting,
75
transcendent renewal, a theme that Mahler
would ultimately transfigure into the music of
his Das Lied von der Erde. As generally
happened, Mahler later withdrew all versions
of the programme from circulation.
Gustav Mahler. SYMPHONY No. 3 (1:44:57)
Semyon Bychkov cond/ WDR Sinfonie-
Orchester Koln The Symphony No. 3 by
Gustav Mahler was written between 1893 and
1896. It is his longest piece and is the longest
symphony in the standard repertoire, with a
typical performance lasting around 90 to 105
minutes. In its final form, the work has six
movements, grouped into two Parts: 0:00 -
Kräftig. Entschieden (Strong and decisive) [D
minor to F major] 35:13 - Tempo di Menuetto
(In the tempo of a minuet) [A major] 45:38 -
Comodo (Scherzando) (Comfortably, like a
scherzo) [C minor to C major] 1:03:58 - Sehr
langsam—Misterioso (Very slowly,
mysteriously) [D Major] 1:14:38 - Lustig im
Tempo und keck im Ausdruck (Cheerful in
tempo and cheeky in expression) [F major]
1:19:13 - Langsam—Ruhevoll—Empfunden
(Slowly, tranquil, deeply felt) [D major] The
first movement alone, with a normal duration
of a little more than thirty minutes, sometimes
forty, forms Part One of the symphony. Part
Two consists of the other five movements and
has a duration of about sixty to seventy
minutes.
Bela Bartok. THE WOODEN PRINCE (54:56)
Pierre Boulez cond/ Chicago Symphony
Orchestra TIMECODES: 0:00 - Introduction
5:14 - 1st Dance: Dance of the Princess in the
Forest 10:18 - 2nd Dance: Dance of the Trees
15:45 - 3rd Dance: Dance of the Waves 27:20
- 4th Dance: Dance of the Princess with the
Wooden Doll 42:42 - 5th Dance: The Princess
Pulls and Tugs at the Wooden Prince and
Tries to Make Him Dance 44:36 - 6th Dance:
She Tries to Attract the Real Prince Using Her
Seductive Dancing 46:13 - 7th Dance:
Dismayed, The Princess Attempts To Hurry
After The Prince, But The Forest Bars Her
Way The Wooden Prince (Hungarian: A fából
faragott királyfi) Op. 13, Sz. 60, is a one-act
pantomime ballet composed by Béla Bartók in

1914-1916 (orchestrated 1916-1917) to a
scenario by Béla Balázs. It was first performed
at the Budapest Opera on 12 May 1917 under
the conductor Egisto Tango. The Wooden
Prince has never achieved the fame of
Bartók's other ballet, The Miraculous
Mandarin (1926), but it was enough of a
success at its premiere to prompt the Opera
House to stage Bartók's opera, Bluebeard's
Castle the following year (it had been waiting
for a performance since 1911). Like
Bluebeard, The Wooden Prince uses a huge
orchestra (it even includes saxophones),
though the critic Paul Griffiths believes it
sounds like an earlier work in style [this
uploader agrees!]. The music shows the
influence of Debussy and Richard Strauss, as
well as Wagner (the introduction echoes the
prelude of Das Rheingold). Bartók used a
scenario by the poet Béla Balázs, which had
appeared in the influential literary journal
Nyugat in 1912. SYNOPSIS: A prince falls in
love with a princess, but is stopped from
reaching her by a fairy who makes a forest
and a stream rise against him. To attract the
princess' attention, the prince hangs his cloak
on a staff and fixes a crown and locks of his
hair to it. The princess catches sight of this
"wooden prince" and comes to dance with it.
The fairy brings the wooden prince to life and
the princess goes away with that instead of
the real prince, who falls into despair. The
fairy takes pity on him as he sleeps, dresses
him in finery and reduces the wooden prince
to lifelessness again. The princess returns
and is finally united with the human prince.
Franz Liszt. GRANDES ETUDES DE
PAGANINI, S. 141 (25:17) [Trifonov] A lovely
recording, featuring playing of incredible
subtlety and colour, and generally an excellent
showcase of the kind of joyous virtuosity that
Trifonov is known for. Every piece here is
elevated by the playing: The dolorous arcs of
No.1, the fulsome, evasive waywardness of
No.2, the delicate, No.3, the firefly sketch that
is No.4, the melting, multihued warmth of
No.5, or rapid-fire bedazzling textures of No.6.
Passages that are often played mechanically
take on magical changes of colour, tempi are
76
extremely well-chosen (see No.3,4,6), and a
feeling of spontaneity is maintained
throughout. 00:00 – No.1 in G Minor 05:12 –
No.2 in E-flat Major 10:40 – No.3 in G-sharp
Minor, “La Campanella” 15:29 – No.4 in E
Major 17:22 – No.5 in E Major 20:21 – No.6 in
A Minor
Franz Liszt. 3 ETUDES DE CONCERT, S.
144 (22:45) [Claudio Arrau] Three Concert
Études (Trois études de concert), S.144, are a
set of three piano études by Franz Liszt,
composed between 1845–49 and published in
Paris as Trois caprices poétiques with the
three individual titles as they are known today.
As the title indicates, they are intended not
only for the acquisition of a better technique,
but also for concert performance. The Italian
subtitles now associated with the studies – Il
lamento ("The Lament"), La leggierezza
("Lightness"), Un sospiro ("A sigh") – were not
in early editions. The études was written in
dedication to Liszt's uncle, Eduard Liszt
(1817–1879), the youngest son of Liszt's
grandfather and the stepbrother of his own
father. Eduard handled Liszt's business affairs
for more than thirty years until his death in
1879. Il lamento is the first of Liszt's Three
Concert Études. Written in A-flat major, it is
among the composer's longest pieces in this
genre. It starts with a four-note lyrical melody
which folds itself through the work, followed by
a Chopin-like chromatic pattern which
reappears again in the coda section. Although
this piece opens and ends in A-flat major, it
shifts throughout its three parts to many other
keys including A, G, B, D-sharp, F-sharp and
B. La leggierezza (meaning "lightness") is the
second of the Three Concert Études. It is a
monothematic piece in F minor with a very
simple melodic line in each hand under an
unusual Quasi allegretto tempo marking,
usually ignored in favour of something a bit
more frenetic. It starts with a fast, but delicate
sixteen chromatic-note arpeggio divided in
thirds and sixths under an irregular rhythmic
subdivision and cadenza so as to underline
the light atmosphere of its title. The technical
difficulties involved are fast passages of minor
thirds in the right hand and light, but quick

leggiero chromatic scales. The third of the
Three Concert Études is in D-flat major, and is
usually known as Un sospiro (Italian for "A
sigh"). However, it is likely that the title did not
originate with Liszt. Although there is no
evidence that he actively attempted to remove
the subtitle, none of the editions or
subsequent printings of the Three Concert
Études published by Kistner during Liszt's
lifetime used them; he simply ignored such
subtitles in later years, always referring to the
piece by key. The étude is a study in crossing
hands, playing a simple melody with
alternating hands, and arpeggios. It is also a
study in the way hands should affect the
melody with its many accentuations, or
phrasing with alternating hands. The melody
is quite dramatic, almost Impressionistic,
radically changing in dynamics at times, and
has inspired many listeners. The étude has
been considered by many pianists as one of
the most beautiful piano pieces ever
composed, Liszt kept the ètude in his
repertoire until his final years. Un sospiro
consists of a flowing background
superimposed by a simple melody written in
the third staff. This third staff—an additional
treble staff—is written with the direction to the
performer that notes with the stem up are for
the right hand and notes with the stem down
are for the left hand. The background
alternates between the left and right hands in
such a way that for most of the piece, while
the left hand is playing the harmony, the right
hand is playing the melody, and vice versa,
with the left hand crossing over the right as it
continues the melody for a short while before
regressing again. There are also small
cadenza sections requiring delicate fingerwork
throughout the middle section of the piece.
Towards the end, after the main climax of the
piece, both hands are needed to cross in an
even more complex pattern. Since there are
so many notes to be played rapidly and they
are too far away from other clusters of notes
that must be played as well, the hands are
required to cross multiple times to reach
dramatic notes near the end of the piece on
the last page.
77
Franz Liszt. ANNEES DE PELERINAGE,
DEUXIEME ANNEE (ITALIE, S161) [49:46]
Franz Liszt (1811 - 1886), Années de
pèlerinage, deuxième année – Italie, S161
(1837/1849) Performed by Jeno Jando
Années de pèlerinage, deuxième année –
Italie, S161 00:00 - No 1: Sposalizio 08:16 -
No 2: Il penseroso 13:17 - No 3: Canzonetta
del Salvator Rosa 15:53 - No 4: Sonetto 47
del Petrarca 21:18 - No 5: Sonetto 104 del
Petrarca 27:28 - No 6: Sonetto 123 del
Petrarca 34:14 - No 7: Après une lecture du
Dante 'Fantasia quasi Sonata' There are
many similarities in the genesis of the first and
second books of Liszt’s Années de
Pèlerinage: most of the pieces in both books
were conceived in the 1830s during his travels
to and from Switzerland and Italy with Marie
d’Agoult, a time which saw the birthof the
couple’s three children, Blandine, Cosima and
Daniel, and for Liszt a period of intense
compositional activity, punctuated by a good
many concerts. The two books were
eventually prepared for publication in their
final form by the early 1850s, in Liszt’s busiest
period as a composer/conductor at the court
of Weimar. Their story is also paralleled by
that of the Transcendental Etudes and the
Hungarian Rhapsodies, which achieved their
final form at about the same time. In the case
of the Swiss volume, Liszt had selected all but
one of the pieces from the previously
published Album d’un Voyageur; with the
Italian set only three of the pieces had
appeared in print in earlier versions—the
Petrarch Sonnets—although all but one of the
remaining pieces had been drafted in the late
1830s. The supplementary volume Venezia e
Napoli had been ready for publication in about
1840, but was withdrawn by Liszt at the proof
stage. The later set of pieces with the same
title discarded two of the earlier set, revised
two, and added a new piece between them.
The important difference between the two
books lies in the source of inspiration:
although various literary references lie in the
background to the Swiss volume, the principal
imaginative spring is the landscape of

Switzerland itself; the second Année draws
entirely upon Italian art and literature.
Franz Liszt. ANNEES DE PELERINAGE,
PREMIERE ANNEE (SUISSE, S160) [48:59]
Années de pèlerinage. Première année:
Suisse, S. 160 (1848-54) (Years of
Pilgrimage. First Year: Switzerland) I.
Chapelle de Guillaume Tell (The Chapel of
William Tell) [0:07] II. Au lac de Wallenstadt
(At Lake Wallenstadt) [6:17] III. Pastorale
[9:19] IV. Au bord d'une source (Beside a
Spring) [11:07] V. Orage (Storm) [15:08] VI.
Vallée d'Obermann (Obermann's Valley)
[19:34] VII. Eglogue (Eclogue) [32:51] VIII. Le
mal du pays (Homesickness) [36:44] IX. Les
cloches de Genève: Nocturne (The Bells of
Geneva: Nocturne) [42:48] A suite for solo
piano by Hungarian composer Franz Liszt
(1811-1886), which is in part a revision of his
earlier work "Album d'un voyageur". The title
"Années de pèlerinage" refers to the
Bildungsroman "Wilhelm Meisters Lehrjahre"
by Johann Wolfgang von Goethe, and there
are numerous other literary allusions
throughout the suite. Liszt wrote the following
introduction to all three "Années de
pèlerinage" suites: "Having recently travelled
to many new countries, through different
settings and places consecrated by history
and poetry; having felt that the phenomena of
nature and their attendant sights did not pass
before my eyes as pointless images but
stirred deep emotions in my soul, and that
between us a vague but immediate
relationship had established itself, an
undefined but real rapport, an inexplicable but
undeniable communication, I have tried to
portray in music a few of my strongest
sensations and most lively impressions." Most
movements are prefaced by captions: I.
Chapelle de Guillaume Tell - "All for one - one
for all." II. Au lac de Wallenstadt - "Thy
contrasted lake / With the wild world I dwell in
is a thing / Which warns me, with its stillness,
to forsake / Earth's troubled waters for a purer
spring." (Canto 3 LXVIII - CV of Byron's
"Childe Harold's Pilgrimage") IV. Au bord
d'une source - "In the whispering coolness
begins young nature's play." (from Schiller) V.
78
Orage - "But where of ye, O tempests! is the
goal? / Are ye like those within the human
breast? / Or do ye find, at length, like eagles,
some high nest?" (Canto 3 LXVIII - CV of
"Childe Harold's Pilgrimage") VI. Vallée
d'Obermann - "Could I embody and unbosom
now / That which is most within me,--could I
wreak / My thoughts upon expression, and
thus throw / Soul--heart--mind--passions--
feelings--strong or weak-- / All that I would
have sought, and all I seek, / Bear, know,
feel--and yet breathe--into one word, / And
that one word were Lightning, I would speak; /
But as it is, I live and die unheard, / With a
most voiceless thought, sheathing it as a
sword." (from "Childe Harold's Pilgrimage");
and "What do I want? Who am I? What do I
ask of nature?" (from Senancour's
"Obermann") VII. Eglogue - "The morn is up
again, the dewy morn, / With breath all
incense, and with cheek all bloom, / Laughing
the clouds away with playful scorn, / And living
as if earth contained no tomb!" (Canto 3
LXVIII of "Childe Harold's Pilgrimage") IX. Les
cloches de Genève - "I live not in myself, but I
become / Portion of that around me" (also
from "Childe Harold's Pilgrimage") Pianist:
André Laplante
Franz Liszt. ANNEES DE PELERINAGE,
TROISIEME ANNEE (SUISSE, S163) [45:43]
Franz Liszt (1811 - 1886), Années de
pèlerinage, troisième année, S163 (1877)
Performed by Jeno Jando 00:00 - No. 1
Angelus! – Prière aux anges gardiens 07:03 -
No. 2 Aux cyprès de la Villa d'Este –
Thrénodie I 13:22 - No. 3 Aux cyprès de la
Villa d'Este – Thrénodie II 22:41 - No. 4 Les
jeux d'eaux à la Villa d'Este 30:03 - No. 5 Sunt
lacrymae rerum – en mode hongrois 37:18 -
No. 6 Marche funèbre – en mémoire de
Maximilien I, Empereur du Mexique, d. 19 juin
1867 42:56 - No. 7 Sursum corda – Erhebet
eure Herzen The genesis of the Troisième
Année de pèlerinage is very different from that
of its two predecessors. The first (Suisse), and
the second (Italie) were brought into their
published shape in the mid-1850s during
Liszt’s time in Weimar, although most of the
pieces actually originated during the period of

his young wanderings in the company of
Marie d’Agoult in the 1830s. They are both
volumes of intensely passionate, essentially
young man’s music, whatever refinements
accrued to them. The third volume, sometimes
very mistakenly published with the subtitle of
‘Italie’, is the product of a fundamentally
solitary person, written during the later years
of his life, when he made an almost annual
triangular trip through Rome, Weimar and
Budapest. Five of the pieces date from 1877,
but Liszt added two earlier works: numbers 5
and 6, from 1872 and 1867. Angelus! also
exists in versions for harmonium, for string
quartet and for string orchestra and is an
innocent diatonic melody in a lilting 6/8. It
forms the beginning of the arch which ends in
the experience of the seventh piece, Sursum
corda—the exhortation to ‘lift up your hearts’
at the Eucharist—where a benign theme
endures chromatic rigours and even a burst of
whole-tone harmony before the strength of
faith brings the cycle to a firm and positive
conclusion. Midway lies the mystical comfort
of the Fountains of the Villa d’Este—an
impressionistic masterpiece, years ahead of
its time and much imitated, consciously or no,
by Debussy and Ravel. Although this work is
pictorial, its very key of F sharp major allies it
to a number of Liszt’s most intimate religious
reflections, particularly Bénédiction de Dieu
dans la solitude, and its message is spelt out
at bar 144 (at the modulation to D major) with
a quotation (in Latin) from the Gospel of St
John: ‘The water that I shall give him shall be
in him a well of water springing up into
everlasting life’ (Authorised Version, John 4:
14). The four remaining pieces are all elegiac:
the two Cypresses are both subtitled
‘Threnody’ although no specific object of
lamentation is divulged. And it is clear that
Liszt wrote the second under the
misapprehehsion that Michelangelo had
planted the first cypress at Santa Maria degli
Angeli in Rome, and that he changed the title
when he discovered his error. Whilst the first
of the Cypresses is nominally in G
minor/major, the effect of suspended tonality
is present from the beginning. There is some
79
attempt here at depicting (in 3/4) the rocking
of the trees in the wind, a feature altogether
absent in the second threnody which makes
an oblique nod towards the traditional funeral
march without ever succumbing. The other
two elegies refer to Liszt’s personal
acquaintances: in a broad sense in Sunt
lacrymae rerum and specifically in the Marche
funèbre. The first of these, originally entitled
‘Thrénodie hongroise’ refers to the rout of the
Hungarian War of Independence (1848–1849)
and the subsequent execution of some of
Liszt’s patriotically distinguished friends (cf the
earlier Funérailles) and the final title comes
from words spoken by Aeneas in Virgil’s
Aeneid (quoted here in the translation by W F
Jackson Knight): ‘… there is pity for a world’s
distress, and a sympathy for short-lived
humanity.’ The music has several overtly
Hungarian characteristics, especially in the
matter of augmented seconds in the melodic
lines. The hapless quondam archduke who
became Emperor of Mexico, mistakenly
believing himself to have been popularly
elected, who attempted social and economic
reforms, and who was eventually executed by
the man he replaced, is commemorated in a
powerful lament which emerges into
triumphant optimism, in line with the quotation
from an elegy by Propertius (Book 2, No 10)
which Liszt placed at the head of the score: ‘In
magnis et voluisse sat est’ (‘To have wished
for great things is an accomplishment in
itself’).
Franz Liszt. MEPHISTO WALTZ No. 1,
S.514 (34:08) [Montero, Grynyuk, Goerner]
Liszt’s first Mephisto Waltz has become
regarded as just a (admittedly dazzling)
showpiece, when it’s a wildly creative and
technically extremely sophisticated work. (It
ought to be celebrated as much as Chopin’s
1st or 4th ballades, it really is that good.) Start
with the work’s structure – it’s extremely tightly
knit, and follows an A-B-A’-Coda form in which
the B section is essentially a theme and
variations, and almost every bar in the A’
section engages in some drastic thematic
transformation of material already heard
before. Most of the work, therefore, consists of

continuous development. The efficiency with
which material is used is remarkable: the
middle section melody (3:08), for instance,
generates the passages at m.676 (7:41),
m.737 (8:22), m.764 (8:43), m.792 (9:05), and
so on. On a more granular level, the
colours/harmonies/textures Liszt deploys here
are extraordinary. Most famously, the work
begins with a pileup of 5ths that sneakily
introduces the rhythmic shape of the work’s
first real theme. But there’s lots of other
wonderful things too: the care Liszt takes to
write out the sparkling 32nd notes at m.149
(1:17) & similar, instead of using staccato
chords or grace notes; the syncopation &
yearning non-harmonic tones (especially the
flattened 6th, which becomes its own motif
and helps to unsettle major-key passages)
which give the middle section an untethered,
seductive effect; the way the flattened Bb
comes to life in the C section, taking over the
role of the dominant & giving the section its
double harmonic major colour; the birds at
4:58 and the languorous nightingale in the
Coda. A SECTION 00:00 – Introduction/tuning
section. Quintal (and in the unison passages,
implied quartal) harmonies. It feels to me like
we’re in E dorian at m.14, when Liszt avoids
the G# (so stopping this from becoming a
usual dominant prolongation), with a Bm7/E
harmony entering with the D. At 0:33 rising
sequence of fourths, in octaves. Culminates in
a huge C# min climax, which then pauses
(0:46) as if it has made a mistake, before
correcting itself into an implied Esus4. (Note
that the bass like of the whole introduction
outlines an E-C#-A descent, which explains
the rather surprising C# min chord). 00:57 –
Theme 1 = T.1, basically just an elaborated A
major chord. Note how the opening rhythm of
T.1’s first 3 notes is already heard at m.17 +
93. 01:11 – Transition 01:15 – T.2 01:24 – T.3
01:46 – T.1/2/3 presented again, before being
capped off at 2:35 by a restatement of T.1 B
SECTION 03:08 – T.4, in Db, comprised of 3
important motifs. Motif 4.1 = (4.1) is the first 4
melody notes you hear starting from m.339.
(4.2) is the next 4 notes you hear the melody
– a single note (flattened 6th) repeated thrice
80
(or four times), before dipping by a semitone.
You first hear it at 3:14, but it’s everywhere,
even in the next section of the melody: 3:42,
3:47, etc. (4.3) is the sighing RH followed by
an upward run at 4:06. (Note also how the
melody starting from m.389 mirrors the shape
of T.1.) 04:58 – T.5. Birds, perhaps?
Mehistopheles’ laughter? A nice recurring
motif, anyway. 05:10 – T.4, Variation 1, in E.
(4.1) in syncopated duplets, (4.2) in LH
decorated with upward run in RH. 05:42 – T.5
06:03 – T.4, Variation 2, in Db. C SECTION
07:19 – T.1, sotto voce, in Bb. 07:41 – T.4
developed. (4.1) + (4.2) in bass, beneath
arpeggios 08:00 – T.1, now in a frantic,
desperate variation. 08:21 – (4.3) developed.
08:43 – T.4 developed. (4.1) in faintly absurd
octave leaps, (4.2) transformed into a spasm.
09:04 – (4.2) turns into a kind of heady,
glittering cataclysm. Cadenza in double
harmonic major at 9:25, the Bb and A clashing
violently, before diminishing into a trembling in
the middle of the keyboard over which there
enters 09:42 – T.5 CODA 09:59 – The
Nightingale. A recitative variant of T.4,
repeated thrice in ever-higher registers. Even
the B-C-Eb-B-C-F# figure at m. 852 (10:39) is
based on (4.1). 11:08 – Final flourish, but
even this is based on (4.2), grinding away in
the bass. The flattened 6ths so prominent in
the rest of the work reappear, as does a
reference to Bb harmony. The final octave run
is based on the double harmonic major scale
(flattened 2nd and 6th scale degrees).
Franz Liszt. REMINISCENCES DE NORMA
(16:18) [Tozer] Liszt was a phenomenal
transcriber for solo piano, as his Beethoven
symphonic transcriptions show. Not all of his
operatic fantasies are masterworks, but
Reminiscences de Norma must rank as one of
the most gorgeous in the genre ever written.
On the purely technical level, as one would
expect, fireworks are everywhere – hand
crossing, scales, octaves, complex
arpeggiation, three-handed effects, the lot.
But, far more importantly, the musical
decoration works beautifully with and upifts
the thematic material – from the stark opening
and the rumbling, stately introduction of the

first theme, to the playful combination of two
main themes in the final pages. Geoffrey
Tozer’s recording of Norma stands out in a
field already packed with excellence. There is
more melodic clarity and warmth (and more
scrupulous fidelity to the score, especially in
relation to pedaling) than there is in Hamelin’s
performance, and more bravura and
excitement than in Leslie Howard’s.
Franz Liszt. REMINISCENCES DE ROBERT
LE DIABLE (10:22) Horror show thrills did not
originate in Hollywood -- in fact, the "dream"
or "nightmare factory" of movie production
was anticipated in its most lurid artifacts by
nineteenth and early twentieth century opera.
Pacts with the devil, the undead, demoniac
possession, the strutting Devil himself were
part and parcel of early Romanticism, from the
lofty philosophical heights of Goethe's Faust
(which gave rise to a number of musical works
quite apart from the evergreen of Gounod's
Faust, Boïto's Mefistofele, and Mahler's
"Symphony of a Thousand") to Weber's
classic Der Freischütz, premiered in 1821,
with its stunning Wolf's Glen scene, and
Marschner's Der Vampyr in 1828, which
influenced the young Wagner. All are
possessed by demon-crossed lovers and rife
with plot complications turning up again every
season in spates of predictable B movies to
gorge an apparently inexhaustible appetite.
Eugène Scribe, that master of the operatic hot
property, cobbled together a libretto potpourri
of the genre for the wealthy Meyerbeer who
composed the most phenomenally successful
operatic spectacle of the century, the first
"grand" opera, Robert le diable, premiered at
the Opéra on November 22, 1831, to such
earth-shaking success that it is credited with
making the fortune of that moribund institution.
Robert, son of the devil Bertram by a mortal
woman, is led into temptation by his father at
every turn, though ultimately saved by the
love of a good woman (a theme very dear to
Wagner). The third act features an epitome of
poor taste that thrilled generations of opera-
goers as Bertram summons the ghosts of
nuns who violated their vows to dance a Valse
infernale. Liszt, an avid opera fan, transcribed
81
this waltz in 1841 as Réminiscences de
Robert le diable -- Valse infernale, which he
performed for the first time at a recital in the
Salle Erard on March 27, 1841, creating a
furor -- it sold out the same day it was put on
sale by his publisher, Maurice Schlesinger.
Schlesinger, at that time, was tossing
journalistic assignments and musical
hackwork to the obscure Richard Wagner,
then in perilous financial straits in Paris. At an
all-Beethoven fundraising concert on April 25,
with Berlioz in command of the orchestra and
Liszt the featured soloist, a clamorous
audience refused to allow the program to
proceed until Liszt at last consented to
perform the Valse infernale. Reviewing the
event for the Dresden Abendzeitung, Wagner
snarled "Some day Liszt in heaven will be
summoned to play his Fantasy on The Devil
before the assembled company of angels."
Franz Liszt. FANTAISIE DUR DES MOTIFS
FAVORIS DE L’OPERA “LA
SONNAMBULA”, S393i (12:27) [Han Chen]
Liszt had no rivals when it came to operatic
paraphrases, fantasies and transcriptions. He
was able to transform a series of well-known
and recognisable sections of an opera into a
memorable, cleverly structured pianistic tour-
de-force which stood on its own. Other
composers who attempted this art were only
able to produce a piano reduction of operatic
excerpts. In Liszt's hands (and mind) the
piano was always able to transform an
operatic spectacle into a cohesive, pianistic
experience; listeners familiar with the themes
of the opera could always find their favorite
arias and melodies woven expertly by Liszt
into the fabric of his extravaganzas. Such is
the case with the marvellous paraphrase of
Liszt's ‘favourite motifs’ from Bellini's ‘La
sonnambula’; the work is constructed about
five themes from Bellini’s opera, and really
presents the drama in miniature by
concentrating upon the principal story-line of
the sleep-walking Amina who is presumed to
be unfaithful to her betrothed Elvino, her
rejection by him, her narrow escape from
death by drowning whilst sleep-walking, her
vindication, and the lovers’ reconciliation. Liszt

captures the whole spirit of the piece in what
amounts to a three-movements-in-one form
whose last section, based on the triumphant
‘Ah! non giunge’, deftly draws all the elements
together. It is altogether one of his best
fantasies, conveying the whole spirit of the
drama in the comparatively microcosmic world
of a single piano piece, and is long overdue
for revival in the concert hall. Han Chen
demonstrates a great understanding of how to
balance exuberance with sensitivity and
thoughtfulness; his assured, elegant, and
totally effortless technique combined with his
idiomatic flair and his use of color and touch to
convey character has produced one of the
finest CDs from Naxos’ survey of Liszt’s piano
music. If you’re a fan of Liszt and the highest
order of transcendental virtuosity, grab
Volume 41 of their (not yet) complete Liszt
project right away.
Franz Liszt. VALSE DE CONCERT SUR
DEUX MOTIFS DE LUCIA ET PARISINA,
S214/3 (9:44) [Wolfram] The Valse de
Concert (titled ‘Valse à capriccio’ in the earlier
version) was published by Liszt as the third of
Trois caprices-valses, the others being the
revised versions of the Valse mélancolique
and the Valse de bravoure, so it is clear that
here as elsewhere he did not mind mixing
original works with those based on other
material. But this waltz really is an original
piece, both because of the extraordinary
variety which Liszt brings to his treatment of
the Lucia waltz (5:34 becomes a gorgeous
fantasia on the Lucia theme, weaving through
various keys in dreamy reverie) and because
of his happy combination of that theme with
the Parisina waltz in invertible counterpoint.
Franz Liszt. REMINISCENCES DES
HUGUENOTS, S412iii (19:21) [Cohen] Liszt’s
Meyerbeer fantasies occupy an important
place amongst his operatic piano works, and
in his fantasy on Les Huguenots, Meyerbeer's
dramaturgy is excellently captured by Liszt,
his imagination catching fire from such fine
material. The work was first completed in
1836, and published the following year (the
original conception was enormous and ran
82
something over twenty minutes in
performance). Shortly afterwards, Liszt
published an intermediate version which was
shortened by one large cut, but for the reissue
in 1842 (which is the version performed here)
he prepared a new version using a copy of the
first edition to make changes. The tightening
consists of the elimination of the Andante from
the Raoul/Valentine duet and the Chorus of
the Assassins from the finale, and the
references to Luther’s hymn Ein’ feste Burg ist
unser Gott (‘A mighty fortress is our God’) are
reinforced by its use in the final bars. The
fantasy is otherwise almost entirely based on
material from the aforementioned duet but the
novel structure of continuous variation is
entirely Liszt’s own. Arnaldo Cohen is quite at
home in the Huguenots fantasy, offering a
performance with refinement and ferocity in
equal proportion and dismissing ambuscades
of treacherous leaps (17:54!), octaves, and
every other technical terror with a telling mix
of verve and nonchalance.
Franz Liszt. REMINISCENCES DES
PURITAINS, S390i (19:13) [Hegedus] The
fantasy on themes from I Puritani,
Réminiscences des Puritains, invites
comparison with the better known
Réminiscences de Norma in terms of its
structure, although Liszt makes less attempt
here to encapsulate the line of the drama,
which is in any event not of the same quality.
Rather, he absorbs and amplifies the
character of the work, enriching the harmonic
vocabulary and exploiting orchestral sonorities
at the keyboard. Much of the martial music
(but not ‘Suoni la tromba’, which is the basis
for the Hexaméron variations, which was not
in the original Paris version of Bellini’s opera)
is used in the dramatic introduction and in
transition passages, but the bulk of the work is
constructed upon two themes: Arturo’s
beautiful cavatina ‘A te, o cara’, and Elvira’s
brilliant aria in the form of a polonaise ‘Son
vergin vezzosa’. Bellini’s opera was produced
in 1835 and Liszt’s fantasy appeared the
following year.

Franz Liszt. REMINISCENCES DE LA
JUIVE, S409a (15:15 [Wong] First performed
in 1835 and published the following year,
Liszt's Réminiscences de La juive has long
been considered problematic by critics, but
although filled with his youthful virtuosic
exuberance, it is a work of undeniable
inventiveness: the shape of the opening Molto
allegro feroce is entirely his (even if the
thematic fragments are Halévy’s) and it is not
until the recognizable martial chorus (3:20)
that he uses a whole theme. The succeeding
Boléro is only loosely based on Halévy, but is
the theme for two delectable variations and
the Finale begins as if it were a third variation
before giving way to frenetically foreshortened
recollections of the march and the introductory
material. Interestingly, the ferocious opening
foreshadows the 'infernal' music of Liszt's
Weimar period, but also shows immediate
kinship with the Valse infernale from
Meyerbeer's Robert le diable, with which the
La juive fantasy was reissued in 1842.
Opinions will vary on Wong's approach to
Liszt’s published texts as the basis for further
embellishment, elaboration and occasionally
recomposition, but in my opinion his playing
falters with the addition of such unnecessities
as whilst some may find them refreshing, it
really is the last thing a piece which has barely
been recorded needs.
Franz Liszt. REMINISCENCES DE LA
SCALA, S458 (15:57) [Andreas Pistorious]
While living in Como (around 1837), Liszt
went several times to the La Scala opera
house in Milan and heard a number of works
in performances which were for the most part
pretty bad. He said so in print while also
stating some rather acid remarks about the
state of opera-goers' understanding and
behaviour (Alan Walker however manages to
prove that these essays had actually been
published by Marie d'Agoult during Liszt's
absence) and brought down much criticism
upon himself. In order to placate the enraged
Milanese, Liszt organised a charity concert at
La Scala on 10 September 1838 in which he
played the William Tell Overture transcription,
and another work entitled 'Réminiscences de
83
La Scala', the latter thought missing for quite a
while. It is now clear that the unpublished and
untitled manuscript usually described as a
fantasy on Italian operatic melodies must be
this missing work. A brief structural analysis of
the fantasy: [Note: all themes with the
exception of Theme 4 come from
Mercandente's "Il giuramento" opera] --
INTRODUCTION -- (00:00) - Introduction from
'Ma negli estremi instanti' [introduction of
Theme 1] [from: ACT 3] (00:49) - Orchestral
introduction from 'Canto siciliano' [introduction
of Theme 2] [from: ACT 1] (1:24) - Fragments
of 'L'adorava qual s'adora' [Theme 3] [from:
ACT 3] - an interesting point: right before this,
a grand gesture on a pedal B flat seems about
to usher in a theme in E flat, however, this
expectation is deftly thwarted by a sideslip into
D major for an anticipation of 'L'adorava qual
s'adora', before finally emerging on the
threshold of G flat. It is by means of such
ingenious harmonic evasions that Liszt
successfully avoids the banality of so many
contemporary fantasies, where each new
theme is invariably preceded by a long and
tedious dominant preparation. -- TREATMENT
OF 1ST THEME -- (1:56) - 'Ma negli estremi
instanti' [Theme 1] (2:54) - Varied repeat of T1
(4:40) - Return of 'Canto siciliano' [Theme 2]
(5:14) - 'fff' reprise of T1 -- TREATMENT OF
2ND THEME, INTRODUCTION OF 4TH
THEME -- (6:17) - Modulating transition based
on T2 (7:02) - Presentation of Theme 4, the
author of which is unknown. (8:36) - Transition
based on T2 and T4 -- TREATMENT OF 3RD
THEME, THEMATIC COMBINATION AND
CODA -- (9:20) - 'Scherzando' version of T3
(11:23) - Modulating development of T4
(12:29) - An astounding (!) thematic
combination of T3 and T4 (15:18) - Coda
based on T2 and new figuration
Franz Liszt. ANDANTE FINALE UND
MARSCH AUS DER OPER KONIG ALFRED,
S421 (15:09) [Soyeon Kate Lee] Liszt’s
arrangement of the Andante finale and March
from his assistant Joachim Raff’s opera König
Alfred appeared in 1853 (the opera,
completed in 1850, had been staged by Liszt
at Weimar the following year, at a time when

Raff was serving as Liszt's secretary and
amanuensis). The two excerpts which Liszt
chose show the young Raff’s confidence, and
the Andante is an intense and moving piece.
The March is more conventional, and allows
Liszt to indulge in a little keyboard wizardry,
including the virtuoso display of glissandi.
Franz Liszt. REMINISCENCES DE DON
JUAN, S418 (16:13) [Okada] The Don Juan
paraphrase has attained a terrifying (and
deserved) reputation as one of the most
technically challenging works in the literature,
but less remarked upon is the uncanny
dramatic insight with which Liszt integrates the
music of the statue of the dead
Commendatore, the drinking song, and
seduction duet into a narrative that celebrates
Don Giovanni’s life and yet relentlessly
reminds the listener of his eventual
punishment. The work opens with the
Commendatore’s music, both from the
graveyard scene where he threatens Don
Giovanni and from the finale where he
condemns Don Giovanni to hell. There is very
little in this section that’s superfluous, despite
the apparently florid writing: nearly everything
evokes a distinct orchestral texture or
passage from the original music, from the
eerie modulating scales [3:02] to the sparse
declamatory passages [2:35] (both from the
final scene). After this comes the seduction
duet and two variations on this theme, and
then an extended fantasy on the champagne
aria so intense it feels like an amphetaminic
dump straight to the aorta. Importantly, the
Commendatore recurs throughout. He
appears in the transition from the seduction
duet to the drinking song at 11:39 [“Tu
m'invitasti a cena...” – the Commendatore
invites Don Giovanni to dine with him in hell],
15:12 [note also that the LH mirrors the middle
voice from the opening section at 1:04], and at
15:48, where, in what might be the most bone-
chilling moment of the entire piece, darkness
swarms up to interrupt the lurid ecstasy of the
finale, a reminder that underneath the
celebratory mood that dominates the piece
something more disturbing lies (this passage
is often omitted by pianists, which seems
84
pretty unforgivable). Okada’s playing here is
incredible. The technical mastery is stunning,
of course, but is more importantly always used
in service of the music. The variations on the
seduction duet, for instance, at kept at a
tempo that retains the original’s languorous,
slightly oily feel, and the opening is played
with nearly unmatched intensity. The leaps
beginning at 13:49 are played with such a
sense of fun – and with such lightness – that
it’s hard not to feel like laughing out loud when
they arrive, the staccatos at 10:20 are
miraculously preserved, and the finale is
played with that possessed, almost-but-not-
quite-lost control that Horowitz managed to
make his trademark.
Franz Liszt. FANTASIE UBER THEMEN
AUS MOZART;S FIGARO UND DON
GIOVANNI, 2697 (20:23) [Batsashvili] Liszt
composed his Fantasy on themes from
Mozart's two masterly operas Le nozze di
Figaro and Don Giovanni by the end of 1842
and he performed the piece in Berlin on 11th
January 1843. The piece was not quite
finished in manuscript, but the lacunae - the
end of a brief transition in the closing section
(bars 574-576) and the end of the work (bars
602-616) - are so insignificant that he
probably tried out an improvised solution in
performance (for unknown reasons, Liszt
never finished the manuscript). A peculiarity of
the Fantasy is that Liszt illustrated themes
from two operas in it: In addition to the themes
employed in his well-known Réminiscences
de Don Juan, Liszt uses three further
melodies from Don Giovanni: a minuet, a
contradance and a waltz. The work concerns
itself with two arias from Le nozze di Figaro -
Figaro's Act 1 aria ("Non più andrai" - his
teasing and admonitory injunction to
Cherubino to take life seriously and to cease
ubiquitous flirting) and Cherubino's Act 2
arietta ("Voi che sapete" - a serenade to the
Countess, Figaro's advice notwithstanding),
and the dance scene from the Act 1 finale of
Don Giovanni (the masked figures of Donna
Anna, Donna Elvira and Don Ottavio come to
accuse Don Giovanni of the murder of the
Commendatore and the rape of Donna Anna,

and find themselves just in time to prevent the
rape of Zerlina). After a dramatic introduction
(based upon Figaro's aria but ending with a
hint of what is to come), Cherubino's gorgeous
arietta (3:25) is given a gentle, florid setting,
transposed to A flat from the original B flat.
This theme occurs only here in the entire
work, then is heard no further. After a brilliant
transition, Figaro's aria returns in its original
bright C major and in the reprises of this
theme Liszt presents marvellously inventive
pianistic and harmonic variations. But instead
of proceeding directly to Mozart's coda, the
aria falls away to reveal the Don Giovanni
dance scene, where Mozart's score calls for
two additional onstage dance orchestras to
add to the pit orchestra, simultaneously
adopting various tunes for different social
groups - the celebrated minuet in 3/4, a rustic
dance in 2/4, and a fast waltz in 3/8. As in the
opera, the minuet is first given alone, in F
major, and Liszt retains this key for the
combination with the rustic dance. Liszt does
not add the third theme as Mozart does, but
keeps it for separate treatment, and gives it
rather more substance than it has in the
opera, combining it with fragments of the
rustic dance and excellently, parts of Figaro's
aria. There follows a modulatory section which
allows Liszt to toy with parts of all four themes
before the transition; this uses earlier Figaro
material alongside the minuet theme, and
leads to the coda, which finally completes
Figaro's aria and the work itself. Bearing in
mind George Bernard Shaw's perceptive
observations upon Liszt's musical
interpretation of the morality of the Don in the
Don Giovanni Fantasy, it might be similarly if
cautiously suggested that the combination and
disposition of the themes in the minuet scene
in the present work also adumbrate a moral
fable: that the flirtatiousness of Cherubino
which may seem harmless enough at the
beginning could be leading to the unforgivable
behaviour of a Don Giovanni, unless good
common sense (See Figaro: "Non più
andrai...") hinders him from doing so. In 1912,
Ferrucio Busoni published a greatly truncated
version of the present fantasy under the title
85
"Fantasie über zwei Motive aus W. A. Mozarts
Die Hochzeit des Figaro" (commonly known
as the ‘Figaro Fantasy’). His honourable
intention to make an unknown work of Liszt
available was somewhat compromised by the
edition remaining silent about exactly how
great was Busoni's contribution. Nor is there
any mention of what and how much he
omitted from Liszt's manuscript: a comparison
with the autograph manuscript reveals that
Busoni omitted sections from Don Giovanni
altogether which implies that he was obliged
to shorten by 245 bars (!) Liszt's original
manuscript consisting of 597 bars and
compose 37 new bars in order to make the
remaining sections suitable for performance.
Not much was required by Leslie Howard (the
lacunae previously mentioned) to make
performable this grand piece, and it remains
quite a mystery why Busoni suppressed so
much of the work in his edition.
Frederic Chopin. ANDANTE SPIANATO
AND GRANDE POLONAISE, op. 22 (13:35)
[Weissenberg] One of Chopin's most brilliant
and compelling early concertante works.
Weissenberg's rendition is refreshingly direct
and clear, and the numerous fiorituras are,
interestingly, played as if they are important
structural elements of the melody as opposed
to mere decoration. The more brilliant
passages (in contrast to, say, Argerich or
Zimerman, whose recordings are also
fantastic) are played more slowly and robustly
than is the norm, which makes for interesting
listening.
Franz Liszt. REMINISCENCES DE
LUCREZIA BORGIA, S400 (23:29) [William
Wolfram] Wolfram's phenomenal recording of
possibly the most taxing Liszt opera fantasy.
Originally composed in 1840 (but revised in
1848) this fantasy contains some of the most
tremendous climaxes (09:03) written by Liszt,
in which there is no shyness in utilizing the full
capacities of the piano. The musical
fragments he seized upon, while effective in
Donizetti's opera, pale and thin as they are
overtaken by gargantuan elaborations in
which Liszt's reinvention of piano playing—his

"transcendental" technique—pushes the limits
of what is humanly possible, even to other
hypervirtuosos. In addition, Liszt's acute
sensitivity to the keyboard sonority produces
some of the most resonantly sensuous
textures (7:33), which exploit the full keyboard
to introduce a richness and luxuriousness that
is not apparent in the original operatic version.
Despite the apparently florid writing, one can
detect on closer inspection the occasional
harbingers of Liszt's pinnacles of
achievement: as far as thematic
transformation is concerned, the Lucrezia
Borgia Fantasia shows the development of
accompaniment figures out of main melodic
material and the complex motivic manipulation
associated with the Sonata in B-minor,
composed several years later. As previously
mentioned, Wolfram is truly phenomenal here;
not only are the technical horrors dispatched
with considerable aplomb, but most
importantly, Liszt's virtuosity and ornamental
decoration is turned (as always intended) to
expressive purpose, consistently dimpled with
nuance and rippled with elan. Also, it's worth
noting that this recording surpasses all
previous ones of this work, towering over
Hegedűs' and Howard's sluggish accounts,
and building more colossal climaxes than
Viner's and Peeble's renditions. Lastly, here's
an interesting entry in the Allgemeine Wiener
Musik-Zeitung by a "Dr K–", dated 26 March
1846, concerning Liszt's performance of this
work: "Finally the Fantasy from "Lucrezia
Borgia" … this ne plus ultra of difficulties
aroused astonishment and admiration in the
large audience. The enthusiastic applause this
time could not persuade Liszt to play an
encore." 00:00—Trio du seconde Acte 09:54
—Chanson à boire (Orgie) - Duo-finale
Franz Liszt. REMINISCENCES DE
BOCCANEGRA, S438 (9:26) [Francois-Rene
Duchable] Liszt turned to Verdi’s Simon
Boccanegra for his last completed operatic
fantasy, Réminiscences de Boccanegra. Verdi
produced a greatly revised version of his work
in 1881, and Liszt was much impressed by
this first taste of the late Verdi, and sought to
popularize it in this fantasy which is, if
86
anything, more avant-garde in its harmonies
than the opera. Liszt makes free use of the
orchestral introduction, the call to arms of the
chorus in the finale to Act II and its orchestral
variant at the beginning of Act III, and
Boccanegra’s dying prayer and the finale to
Act III, with an original coda based again on
the orchestral prelude. Alternating between
his earlier 'concert-based' style and the spare,
harmonically daring mood of his other late
piano works, Liszt combines Verdi's Italianate
warmth with his new-found harmonic asperity
to produce a powerfully etched transcription.
Franz Liszt. REMINISCENCES DE LUCIA DI
LAMMERMOOR, S397 (5:49) [Hegedus] An
exceptionally vibrant interpretation of Liszt's
reminiscences on the closing sextet of
Donizetti's ‘Lucia di Lammermoor’. The sextet
is one of the greatest pieces in the literature;
when Caruso sang it in New York, such
pandemonium broke loose that policemen
stormed into the Met thinking that a riot had
broken out. It is the pivotal point of the opera,
with its conflicting and interwoven emotions of
the enraged Edgar, the remorseful Enrico, the
scarcely sane Lucia, and the sundry other
rogues and varlets. Liszt's transcription
commences in 3/4 time and, after its
syncopated introduction, mirrors the orchestral
and vocal parts before becoming airborne with
a fluttering cadenza passage leading to a
lovely arperggio throughout the upper half of
the keyboard. The time signature then
changes to 9/8, and the theme is developed in
right-hand chords while the left is occupied by
a series of arpeggios and intermittent trills,
softly played, but which by their continuous
presence and increasing dynamics serve to
create a sense of considerable emotional
pressure. Liszt then notches up the
temperature by inverting the right-hand-left-
hand treatment of melody and
accompaniment; the climax is finally reached
when that tensely repressed accompaniment
bursts through the surface of the melody. The
artistry involved in creating this cathartic result
is astonishing in its uncanny preservation of
the sense and feel of the original work as
encased in a vivid, dreamlike state. At last, the

piece then closes with a return in 3/4 to the
original theme, which then fragments into
booming left and right-hand chord.
EUGENE ONEGIN (Peter Tchaikovsky)
[2:18:26] Hermann Prey, Fritz Wunderlich,
Ingeborg Bremmert, Brigitte Fassbaender,
Hertha Töpper, Mino Yahia - Joseph Keilberth
(Video)
CARMEN (Georges Bizet) [Act 1] (49:40)
Livret: Henri Meilhac et Ludovic Halévy
Carmen - Maria Callas Don José - Nicolaï
Gedda Micaëla - Andréa Guiot Escamillo -
Robert Massard Frasquita - Nadine Sautereau
Mercédès - Jane Berbié Le Dancaïre - Jean-
Paul Vauquelin Le Remendado - Jacques
Pruvost (Nos. 18 et 19) - Maurice Maievski
Moralès - Claude Cales Zuniga - Jacques
Mars Chœurs René Duclos Chœurs d'enfants:
Jean Pensneaud Orchestre du Théâtre
National de l'Opéra de Paris GEORGES
PRÊTRE Enregistré à Paris en 1964 (Audio)
CARMEN (Georges Bizet) [Act 2] (39:39)
[Same as Above]
CARMEN (Georges Bizet) [Acts 3&4]
(56:56) [Same as Above]
KATERINA IZMAILOVA (Dmitri
Shostakovich) [1:51:49] Dmitri Shostakovich
(1906-1975) ♪ Katerina Izmailova (Lady
Macbeth of Mtsensk) A film by Mikhail
Shapiro, 1966 English subtitles Screen play
and libretto by Dimitri Shostakovich, after the
novel "Lady Macbeth of Mtsenk," by Nikolai
Leskov. Directed by Mikhail Shapiro. A
Lenfilm Production. Katerina . . . . . .Galina
Vishnevskaya Sergei . . . . . . . A. Inotemtsev
(sung by V. Tretyak) Zinovy . . . . . . . N.
Boyarsky (sung by V. Radziyevsky)
Boris . . . .. . . . A. Sokolov (sung by A.
Vedernikov) The Imbecile . . . R. Tkachuk
(sung by S. Strezhnev) Sonetka . . . . . . T.
Gavrilova (sung by V. Reka) Chorus and
Orchestra of the Shevchenko Opera and
Ballet Theater, Kiev. Conducted by Konstantin
Simeonov. (Film. 1966)
MAZEPPA (Peter Tchaikovsky) [2:36:37]
Mazeppa", opera in 3 acts to a libretto by
87
Viktor Burenin and P. I. Chaïkovski after the
epic poem "Poltava" by Alexander Pushkin.
Sung in Serbian. Mazeppa - Nikola Mitić
Kotchubey - Miroslav Čangalović Lyubov, his
wife - Đurđevka Čakarević Maria, his daughter
- Radmila Bakočević Andery - Zvonimir
Krnetić Orlik - Aleksandar Đokić Iskra - Milivoj
Petrović Drunken Cossack - Stjepan
Andrašević The National Opera Orchestra,
Chorus and Ballet, Belgrade, Serbia OSKAR
DANON. (Audio)
Sergei Rachmaninoff. RHAPSODY ON A
THEME OF PAGANINI, op. 43 & ETUDE
TABLEAUS, op. 39, no. 2 (30:29) Denis
Matsuev (piano); State Symphony Orchestra
of Russia; Conductor: Leonard Slatkin;
Tchaikovsky Concert Hall, Moscow, April 2,
2013 0' 1. Sergei Rachmaninov: Rhapsody on
a Theme of Paganini, Op.43 24' 2.
Rachmaninoff Etude Tableau Op. 39 no 2
(Video)
KOSTANA. Petar Konjović (1883-1970)
[Part 1] (1:12:29) Србија - Коштана /
Koštana, опера у 3 чина, (1948) Либрето је
написао сâм композитор на основу
истоимене драме Боре Станковића. The
libretto was written by Petar Konjović after
drama "Koštana" by the Serbian writer Bora
Stanković. Koštana: Gordana Jevtović
(soprano), Mitke: Miroslav Čangalović (bass),
Hadži-Toma: Dušan Popović (baritone), Kata:
Olga Milošević (alto), Arsa: Živojin
Milosavljević (baritone), Stojan: Zvonimir
Krnetić (tenor). Hor i Orkestar RTB. Mladen
Jagušt (Audio)
KOSTANA. Petar Konjović (1883-1970)
[Part 2] (29:41) [Same as Above]
KOSTANA. Petar Konjović (1883-1970)
[Part 3] (48:00) [Same as Above]
FRITZ WUNDERLICH (Robert Schumann:
Dichterliebe, Ludwig van Beethoven: 4
Lieder, Franz Schubert: 9 Lieder) [1:05:33]
FRITZ WUNDERLICH Robert Schumann
(1810 - 1856) Dichterliebe, Op.48 1. Im
wunderschönen Monat Mai 2. Aus meinen
Tränen sprießen 3. Die Rose, die Lilie, die

Taube, die Sonne 4. Wenn ich in deine Augen
seh' 5. Ich will meine Seele tauchen 6. Im
Rhein, im heiligen Strome 7. Ich grolle nicht 8.
Und wüßten's die Blumen, die kleinen 9. Das
ist ein Flöten und Geigen 10. Hör' ich das
Liedchen klingen 11. Ein Jüngling liebt ein
Mädchen 12. Am leuchtenden
Sommermorgen 13. Ich hab' im Traum
geweinet 14. Allnächtlich im Traume seh' ich
dich 15. Aus alten Märchen winkt es 16. Die
alten, bösen Lieder Ludwig van Beethoven
(1770 - 1827) 17. Zärtliche Liebe, WoO 123
"Ich liebe dich" 18. 18. Adelaïde, Op.46 19.
Resignation, WoO149 20. Der Kuss, Op.128
Franz Schubert (1797 - 1828) 21. An Sylvia,
D.891 (Op.106/4) 22. Lied eines Schiffers an
die Dioskuren, D360 23. Liebhaber in allen
Gestalten, D.558 24. Der Einsame, D.800 25.
Im Abendrot, D.799 Schwanengesang, D.957
26. Ständchen "Leise flehen meine Lieder" 27.
An die Laute, D. 905 (Op.81/2) 28. Der
Musensohn, D.764 (Op.92/1) 29. An die
Musik, D.547 (Op.88/4) (Audio)
Johann Sebastian Bach. MASS in b minor
(2:11:30) Gundula Janowitz, Sopran Hertha
Töpper, Alt Horst Laubenthal, Tenor Hermann
Prey, Bass Johann Sebastian Bach "Hohe
Messe in h-Moll" Münchener Bach-Chor
Münchener Bach-Orchester Conductor: Karl
Richter (Video)
Johann Sebastian Bach. ST. MATTHEW
PASSION, BWV 244 (3.:16:48) Johann
Sebastian Bach Matthäus-Passion, BWV 244
[Pasión según Mateo, BWV 244] Munchener
Bach Chor, Munchener Bach Orchester,
[Orquesta y Coro Bach de Munich] Karl
Richter, director. (Video)
100 MARCHES OF THE WORLD (Full
Album) [3.32.41] Record 1- Side 1 Great
Britain 1. Colonel Bogey March (0:00) 2. Sons
of the Brave (3:03) 3. Old Comrades (5:55) 4.
The Shanghai Sailor (8:47) 5. Airborne
Division (11:20) 6. Aida (14:34) 7. College of
Heralds (16:30) Record 1- Side 2 Great Britain
and Ireland 8. The March Past Melody (Nine
marches) (21:17) 9. The Household Cavalry
Medley (Six Marches) (30:30) Scotland 10.
88
Amazing Grace (35:24) 11. Kitchener's Army,
Balkan Hills, The Rhodesian Regiment (38:36)
12. Scotland the Brave, Auld Lang Syne, The
Black Bear (43:06) Record 2- Side 1 Germany
13. Deutschland Uber Alles (45:20) 14.
Marsch Des Yorckschen Korps (46:44) 15.
Des Grossen Kurfuersten Reitermarsch
(47:50) 16. Helenenmarsch (51:04) 17.
Mussinan Marsch (53:04) 18. Bayrischer
Defiliermarsch (56:00) 19. Frei Weg (57:46)
20. Waidmannsheil (59:43) 21. Petersbruger
Marsch (1:01:55) 22. Fehrbeliner
Reitenmarsch (1:03:33) Austria 23. Land Der
Berge, Land Am Frame (1:05:54) 24. Castaldo
(1:07:19) 25. Friedlander Marsch (1:09:54)
Norway 26. Ja Vi Elsker Dette Lahdet
(1:12:30) 27. Medley (Gardemarsi, Horse
Defiler Marsi, Hall of the Mountain King)
(1:13:29) Sweden 28. Du Camia, Du Fria
(1:18:14) Finland 29. Friedrich Factus
(1:19:22) Belgium 30. La Hradancunne
(1:20:42) Holland 31. Wileimus Van Nassouve
(1:21:38) Record 3- Side 1 France 32. La
Marseillaise (1:22:28) 33. Marche De La 2e
D.B. (1:23:31) 34. Alsace Lorraine (1:27:22)
35. Marche Consulaire (1:29:39) 36. Marche
De La Gendarmerie (1:33:34) 37. Marche Du
1er Regiment Des Chasseurs Ardennais
(1:38:10) 38. Sambre Et Meuse (1:41:56) 39.
Marche De La Legion (1:46:14) Spain 40.
Marcha Real (1:49:29) 41. Los Generales
(1:50:19) 42. Las Corsarias (1:52:19) 43.
Madrid (1:55:00) 44. La Dolores (1:57:17) Italy
45. Inno DI Mameri (2:00:56) 46. Bapoli
(2:02:34) 47. La Bora (2:05:22) Turkey 48:
Independence Day (2:08:15) Record 4-Side 1
Union of Soviet Socialist Republics 49. Hymn
of the Soviet Union (2:09:26) 50. March of the
Cavalry of the Steppes (2:11:37) 51. Moscow
Parade March (2:14:47) 52. Sky-Guards
(2:17:11) 53. Heroes of Stalingrad (2:20:19)
China 54. The Red Detachment of Women
(2:22:22) Poland 55. Warsaw Parade March
(2:23:17) Rumania 56. New Life (2:26:05)
Record 4- Side 2 Czechoslovakia 57.
Filipovich (2:28:22) 58. Olympia (2:30:38) 59.
Military March (2:32:55) 60. Our Commander
(2:35:09) 61. March of the Submarine
Gunners (2:37:28) Bulgaria 62. Our Banner

(2:40:37) 63. Marching Straight Ahead
(2:43:49) Hungary 64. Rakoczy March
(2:46:04) 65. Friendship (2:49:04) Record 5-
Side 1 United States of America 66. Fairest of
the Fair (2:51:36) 67. El Capitan (2:54:26) 68.
Under the Double Eagle (2:57:31) 69.
American Patrol (3:00:06) 70. Manhatten
Beach March (3:03:00) 71. Free Lance March
(3:05:23) 72. My Maryland March (3:07:55)
73. Jack Tar March (3:10:00) Side 2 United
States of America 74. Entry of the Gladiators
(3:12:13) 75. High School Cadets (3:15:24)
76. Battle Hymn of the Republic (3:17:57) 77.
Stars and Stripes Forever (3:21:22) 78.
Liberty Bell March (3:24:20) 79. Washington
Post March (3:27:05) 80. The Thunderer
(3:29:45) [Audio]
PARADE MARCHES (1:07:48) Performed by
Brass Bands by Exemplary Military Orchestra
of the Guard of Honour | Exemplary Orchestra
of USSR Navy | First Separate Exemplary
Orchestra of USSR Defense Ministry play 1
Moscow Salute by First Separate Exemplary
Orchestra of USSR Defense Ministry 4:58
Play 2 Higher and Higher by Exemplary
Military Orchestra of the Guard of Honour 2:35
Play 3 Brass Band by Exemplary Military
Orchestra of the Guard of Honour 3:05 Play 4
The Festive March by First Separate
Exemplary Orchestra of USSR Defense
Ministry 2:22 Play 5 Captain Gastello by
Exemplary Orchestra of USSR Navy 3:03 Play
6 To the Heroes of the Patriotic War by First
Separate Exemplary Orchestra of USSR
Defense Ministry 4:17 Play 7 Nakhimov March
by Exemplary Orchestra of USSR Navy 2:29
Play 8 Peace Supporters by First Separate
Exemplary Orchestra of USSR Defense
Ministry 4:31 Play 9 Budapest by First
Separate Exemplary Orchestra of USSR
Defense Ministry 3:31 Play 10 The Naval
March by Exemplary Military Orchestra of the
Guard of Honour 4:10 Play 11 To the Heroes
of Stalingrad by First Separate Exemplary
Orchestra of USSR Defense Ministry 3:37
89
Play 12 Prague Is Waiting by Exemplary
Military Orchestra of the Guard of Honour 2:51
Play 13 Soldier Courage by Exemplary
Military Orchestra of the Guard of Honour 3:33
Play 14 The Capital March by First Separate
Exemplary Orchestra of USSR Defense
Ministry 3:32 Play 15 The Victory Day by First
Separate Exemplary Orchestra of USSR
Defense Ministry 3:47 Play 16 The Military
March by First Separate Exemplary Orchestra
of USSR Defense Ministry 2:39 Play 17 On a
Journey by Exemplary Military Orchestra of
the Guard of Honour 2:15 Play 18 The
Guards' March by Exemplary Orchestra of
Interior Forces of USSR MOI 3:11 Play 19
The Victory by Exemplary Orchestra of Interior
Forces of USSR MOI 3:59 Play 20 The
Parade [Audio]
THE GREAT MARCHES OF THE WORLD
(42:33) (00:01) 1. Medley On Classic Marches
(클래식 행진곡 메들리) 00:01 - Parade of The
Charioteers 벤허 서곡 '전차들의 행진' 00:08 -
Light Cavalry Overture 경기병 서곡 00:47 -
Grand March 개선 행진곡 02:06 - Soldiers
Chorus From Faust 파우스트 중 병사들의 합창
03:08 - Radetsky March 라데츠키 행진곡
03:57 - See, The Conquering Hero Comes 보
아라 용사 05:02 - Military March 군대 행진곡
05:24 - Song of Joy 환희의 노래 05:49 -
Turkish March 터키 행진곡 06:21 - Wedding
March 결혼행진곡 (07:17) 2. Medley On
Screen Marches (영화주제가 행진곡 메들리)
07:17 - Colenel Bogey 콰이강의 다리 08:58 -
Yellow Rose of Taxas 텍사스의 노란 장미
09:30 - Do Re Mi 도레미송 10:02 - The
Longest Day 사상 최대의 작전 11:15 - I Left
My Love 기병대 마취 11:43 - When The Saint
Go Marching in 성자의 행진 12:16 - When
Johnny Comes Marching Home 쟈니의 행진
12:54 - The Ballad of the Green berets 그린베
레 13:54 - The Great Escape 대탈주 (16:17) 3.
Medley On Childrens Marches (동요 행진곡 메
들리) 16:17 - The Children's March 어린이 행

진곡 (영국민요) 17:13 - The Bluebells of
Scotland 귀뚜라미 우는밤 (스코틀랜드 민요)
17:54 - Kuckuck,Kuckuck, Ruft´s Aus Dem
Wald 뻐꾸기 (오스트리아 민요) 18:18 -
Massa's In De Cold, Cold Ground 기러기 (포
스터 작곡) 18:51 - O Du Lieber Augustin 동무
들아 (오스트리아 민요) 19:24 - 들로 산으로
19:57 - Lasst Uns Froh Und Munter Sein 겨울
밤 (독일 민요) 20:17 - Row, Row, Row Your
Boat 리리릿자로 끝나는 말 (미국 민요) (20:53)
4. Under The Double Eagles (쌍독수리 행진
곡) (23:21) 5. National Emblem March (조국의
상징) (26:20) 6. The Stars And Stripes
Forever (성조기여 영원하라) (29:59) 7.
Semper Fidelis March (충성 행진곡) (32:42) 8.
Washington Post March (워싱턴 포스트 행진
곡) (35:14) 9. Old Friend March (옛친구 행진
곡) (39:42) 10. Dixie Land (딕시 랜드) [Audio]
SOME AMERICAN MARCHES BY JOHN
PHILIP SOUSA (25:03)
00:00 Semper Fidelis 02:58 Stars and Stripes
Forever 06:35 The Washington Post 09:14
The Coquette 11:24 Jack Tar 13:50 Sound Off
Alert March 16:07 The Rifle Regiment 19:21
The Thunderer 22:10 Hands Across the Sea
(Audio)
Robert Schumann. KERNER-LIEDER
(42:38) 12 Gedichte von Justinus Kerner op.
35 01. Lust der Sturmnacht 02. Stirb, Lieb'
und Freud'! 03. Wanderlied 04. Erstes Grün
05. Sehnsucht nach der Waldgegend 06. Auf
das Trinkglas eines verstorbenen Freundes
07. Wanderung 08. Stille Liebe 09. Frage 10.
Stille Tränen 11. Wermachte dich so krank 12.
Alte Laute 5 Lieder op. 40 13. Märzveilchen
14. Muttertraum 15. Der Soldat 16. Der
Spielmann 17. Verrratene Liebe Peter
Schreier, Tenor Norman Shetler, Piano
(Audio)
FRITZ WUNDERLICH – DER
JAHRHUNDERTTENOR AUS DER PFLAZ
(28:20) [Video]
Sergei Prokofiev. ALEXANDER NEVSKY
(38:26) Claudio Abbado cond/ London
90
Symphony Orchestra & Chorus Mezzo-
soprano: Elena Obraztsova 0:00 - Russia
Under the Mongolian Yoke 3:06 - Song About
Alexander Nevsky 6:38 - The Crusaders in
Pskov 13:17 - Arise, Ye Russian People 15:38
- The Battle on the Ice 27:41 - The Field of the
Dead 33:42 - Alexander's Entry Into Pskov
Alexander Nevsky (Russian: Александр
Невский) is the score composed by Sergei
Prokofiev for Sergei Eisenstein's 1938 film
Alexander Nevsky. The subject of the film is
the 13th century incursion of the knights of the
Livonian Order into the territory of the
Novgorod Republic, their capture of the city of
Pskov, the summoning of Prince Alexander
Nevsky to the defense of Rus', and his
subsequent victory over the crusaders in
1242. The majority of the score's song texts
were written by the poet Vladimir Lugovskoy.
In 1939, Prokofiev arranged the music of the
film score as the cantata, Alexander Nevsky,
Op. 78, for mezzo-soprano, chorus, and
orchestra. It is one of the few examples
(Lieutenant Kijé is another) of film music that
has found a permanent place in the standard
repertoire, and has also remained one of the
most renowned cantatas of the 20th century.
Eisenstein, Prokofiev, and Lugovskoy would
go on to collaborate again some five years
later on another historical epic, Ivan the
Terrible (Parts 1 and 2), Eisenstein's next and
last films. (Audio+Score)
Sergei Prokofiev. ALEXANDER NEVSKY
(39:23) Sergei Prokofiev (1891-1953)
Alexander Nevsky, Op.78 (1938-39) 1. Russia
under the Mongolian Yoke 2. Song about
Alexander Nevsky 3. The Crusaders in Pskov
4. Arise, Men of Russia 5. The Battle on Ice 6.
The Field of the Dead 7. Alexander's Entry
into Pskov Ketevan Kemoklidze, Mezzo-
soprano Saint Petersburg Philharmonic
Orchestra Choir of the National Academy of
Santa Cecilia Yuri Temirkanov, conductor
30.08.2012 Eglise de Sainte-Bernadette,
Annecy, France Annecy Classic Festival 2012
(Video)

Sergei Prokofiev. LIEUTENANT KIJE SUITE
(20:00) The Birth of Kijé 4:10 Romance 4:23
Kijé's Wedding 2:44 Troika 2:38 The Burial of
Kijé 6:05. Fritz Reiner (conductor), Chicago
Symphony Orchestra. 1957/03/02 (ⓟ 1958)
Stereo, Orchestra Hall, Chicago (Audio)
Sergei Prokofiev. LIEUTENANT KIJE SUITE
(20:06) When André Previn was appointed
Chief Conductor of the London Symphony
Orchestra in 1968, he immediately set about
popularising classical music on British
television with a highly successful series of
concerts. “André Previn’s Music Night” was
the title of one such series and from one of
these concerts, given in Croydon’s Fairfield
Hall in 1977, Previn and the LSO played
Prokofiev’s “Lieutenant Kijé” Suite. The music
had its origins in a score for the 1934 Soviet
movie of the same name and consists of five
numbers, the fourth of which, entitled “Troika"
('Sleigh Ride'), is one of Prokofiev’s most
popular pieces. (Video)
Sergei Prokofiev. LIEUTENANT KIJE SUITE
(21:18) Sergei Prokofiev (1891-1953)
Lieutenant Kijé Suite Op. 60, composed in
1934 from the film 'Lieutenant Kijé'. 00:00 1.
The Birth of Kijé 04:11 2. Romance 09:00 3.
Kijé's Wedding 11:55 4. Troika (Sleigh Ride)
14:55 5. The Burial of Kijé Performed by the
Slovak State Philharmonic Orchestra
Conductor: Andrew Mogrelia (Audio+Score)
Sergei Prokofiev, LIEUTENANT KIJE
SUITE, op. 60 (20:38) Perm Opera and Ballet
Theatre Orchestra, conductor - Valeriy
Platonov. 1. Birth of Kijé 2. Romance 3. Kijé's
Wedding 4. Troika 5. Kijé's Funeral (Video)
ALEXANDER NEVSKY (1938) [1:48:11]
Alexander Nevsky (Russian: Александр
Невский) is a 1938 historical drama film
directed by Sergei Eisenstein. It depicts the
91
attempted invasion of Novgorod in the 13th
century by the Teutonic Knights of the Holy
Roman Empire and their defeat by Prince
Alexander, known popularly as Alexander
Nevsky (1220–1263). Alexander Nevsky
(1938) movie Genres: Action, Drama, History,
War Production company: Mosfilm Directed by
Sergei M. Eisenstein, Dmitriy Vasilev Writing
Credits: Sergei M. Eisenstein, Pyotr Pavlenko
Music by Sergei Prokofiev Cinematography by
Eduard Tisse Film Editing by Sergei M.
Eisenstein, Esfir Tobak Production Design by
Iosif Shpinel Art Direction by Nikolai Solovyov,
Sergei M. Eisenstein Costume Design by
Konstantin Eliseev, Sergei M. Eisenstein Cast:
Nikolay Cherkasov as Aleksandr Nevsky
Nikolai Okhlopkov as Vasili Buslai Andrei
Abrikosov as Gavrilo Oleksich Dmitriy Orlov
as Ignat - the Master Armorer Vasili Novikov
as Pavsha - Governor of Pskov Nikolai Arsky
as Domash Tverdislavich - a Novgorod Boyar
Varvara Massalitinova as Amelfa Timoferevna
- Buslai's Mother Valentina Ivashova as Olga
Danilovna - a Maid of Novgorod Aleksandra
Danilova as Vasilisa - a Maid of Pskov
Vladimir Yershov as Von Balk - Grand Master
of the Teutonic Order Sergei Blinnikov as
Tverdilo - Traitorous Mayor of Pskov Ivan
Lagutin as Anani - a Monk Lev Fenin as The
Archbishop Naum Rogozhin as The Black-
Hooded Monk Nikolai Aparin as Mikhalka
Boris Belyakov as Knight A. Gulkovski as
Teutonic Knight Leonid Iudov as Savka Ivan
Klyukvin as Pskov Warrior Lyan-Kun as
Hubilay Fyodor Odinokov Pavel Pashkov as
Mikula Nikolai Vitovtov as Teutonic Knight
(Film)
IVAN THE TERRIBLE (1945) [1:34:54] In
1547, Ivan IV (1530-1584), archduke of
Moscow, crowns himself Tsar of Russia and
sets about reclaiming lost Russian territory. In
scenes of his coronation, his wedding to
Anastasia, his campaign against the Tartars in
Kazan, his illness when all think he will die,
recovery, campaigns in the Baltic and Crimea,
self-imposed exile in Alexandrov, and the
petition of Muscovites that he return, his
enemies among the boyars threaten his
success. Chief among them are his aunt, who

wants to advance the fortunes of her son, a
simpleton, and Kurbsky, a warrior prince who
wants both power and the hand of Anastasia.
Ivan deftly plays to the people to consolidate
his power. Ivan the Terrible (1945) movie
Genres: Biography, Drama, History
Production Co: Mosfilm Directed by Sergei M.
Eisenstein Writing Credits: Sergei M.
Eisenstein Produced by Sergei M. Eisenstein
Music by Sergei Prokofiev Cinematography by
Andrei Moskvin, Eduard Tisse Film Editing by
Sergei M. Eisenstein Cast: Nikolay Cherkasov
as Czar Ivan IV Lyudmila Tselikovskaya as
Czarina Anastasia Romanovna Serafima
Birman as Boyarina Efrosinia Staritskaya
Mikhail Nazvanov as Prince Andrei Kurbsky
Mikhail Zharov as Czar's Guard Malyuta
Skuratov Amvrosi Buchma as Czar's Guard
Aleksei Basmanov Mikhail Kuznetsov as
Fyodor Basmanov Pavel Kadochnikov as
Vladimir Andreyevich Staritsky Andrei
Abrikosov as Boyar Fyodor Kolychev
Aleksandr Mgebrov as Novgorod's Archbishop
Pimen Maksim Mikhaylov as Archdeacon
Vladimir Balashov as Piotr Volynetz Vsevolod
Pudovkin as Nikola, Simpleton Beggar
Semyon Timoshenko as Kaspar von
Oldenbock, Livonian ambassador Aleksandr
Rumnyov as The Stranger Pavel Massalsky
as Sigismond - King of Poland Valentina
Kuznetsova as Smiling Woman in the Church
Sergei Stolyarov Additional information: Ivan
the Terrible (Russian: Иван Грозный, Ivan
Grozniy) is a two-part historical epic film about
Ivan IV of Russia commissioned by Soviet
Premier Joseph Stalin, who admired and
identified himself with Ivan, to be written and
directed by the filmmaker Sergei Eisenstein.
Part I was released in 1944; however, Part II
was not released until 1958, as it was banned
on the order of Stalin, who became incensed
over the depiction of Ivan therein. Eisenstein
had developed the scenario to require a third
part to finish the story but, with the banning of
Part II, filming of Part III was stopped; after
Eisenstein's death in 1948, what had been
completed was destroyed. (Film)
PELLEAS ET MELISANDE (Claude-Achille
Debussy) [Highlights] (1:16:54) Claude
92
Debussy (1862 – 1918) “Pelléas et Mélisande
- highlights” Mélisande - Victoria de los
Angeles Pelléas - Jacques Jansen Golaud -
Gérard Souzay Arkel - Pierre Froumenty
Geneviève - Jeannine Collard. André
Cluytens, conductor 1956 (Audio)
DIE MEISTERSINGER VON NURNBERG
(Richard Wagner) [4:07;59] (Sung in
Swedish with Set Svanholm. The legendary
tenor sings Walther von Stolzing in Stockholm
opera, where he was the intendant in his late
years) Hans Sachs - Sigurd Björling Veit
Pogner - Erik Saedén Kunz Vogelgesang-
Olle Sivall Konrad Nachtigall- Ingvar Wixell
Sixtus Beckmesser- Anders Näslund Fritz
Kothner Erik Sundquist Balthasar Zorn -Conny
Söderström Ulrich Eißlinger - Arne Ohlson
Augustin Moser - Sture Ingebretzen Hermann
Ortel - Georg Svedenbrant Hans Schwartz -
Arne Tyrén Hans Foltz - Sven-Erik Jacobsson
Walther von Stolzing - Set Svanholm David -
Sven-Erik Vikström Eva - Aase Nordmo-
Lövberg Magdalene - Margareta Bergström
Ein Nachtwächter - Folke Jonsson Kungliga
Hovkapellet Kungliga Operans Kör Sixten
Ehrling, conductor Live recording at
Stockholm Royal Opera House, June 3, 1956
(Audio)
TANNHAUSER (Richard Wagner) [2.56.20]
The legendary Tannhäuser production by
Götz Friedrich was a true scandal in 1972.
Erich Leinsdorf was so outraged that left the
production. Hugh Beresford sung the title role.
Landgraf Hermann - Hans Sotin Tannhäuser -
Hugh Beresford Wolfram von Eschenbach
Bernd Weikl Walther von der Vogelweide -
Harald Ek Biterolf - Franz Mazura Heinrich der
Schreiber - Heribert Steinbach Reinmar von
Zweter - Heinz Feldhoff Elisabeth / Venus -
Dame Gwyneth Jones Ein junger Hirt. Walter
Gampert Bayreuth Festival Orchestra and
Chorus Erich Leinsdorf, conductor Norbert
Balatsch, chorus master Live recording at
Bayreuth Festspielhaus 1972 (Audio)
LOHENGRIN (Richard Wagner) [Act 1]
(1:07:33) Live from the Vienna State Opera
1990 Lohengrin, Opera in 3rd acts by Richard

Wagner Choir and Orchestra: VIENNA STATE
OPERA Conductor: Claudio Abbado Director:
Wolfgang Weber Equipment: Rudolf and
Reinhard Heinrich Choir production: Helmuth
Froschauer Henry the Bird: Robert Lloyd
Lohengrin: Plácido Domingo Elsa von
Brabant: Cheryl Studer Ortrud: Dunja Vejzovic
The Army Shore of the King: Georg Tichy
Four brabantiscle nobles: Bojidar Nikolov,
Franz Käsemann, Claudio Othello, Peter
Köves Friedrich von Telramund: Hartmut
Welker Four noble boys: Sylvia Panzenböck,
Ingrid Sieghaft, Ulrike Erfurt, Johanna Graupe
Four chambermaids: Maria Bierbrauer,
Gretchen Eder, Elisabeth Kudrna Scream,
Eva-Maria Thor Location: Antwerp Time: 1st
half tenth century Total length: 1:07 hours
People: Lohengrin (tenor) is the Knight of the
Grail. He was sent by his father Parsifal to
help the innocent Elsa. After his secret identity
becomes known, he has to return to his boat,
which is pulled by a swan. Elsa of Brabant
(soprano) is the daughter of the late Duke of
Brabant. Her brother is transformed into a
swan by Ortrud, so that her husband can
accuse Elsa of murder and thus gain power.
Friedrich von Telramund (Bass), also known
as Telramund, is a Brabant count. He hopes
for more power than he deserves. Ortrud
(soprano) is the wife of Telramund. Her
abilities lie in the field of magic, with which she
wants to bring recognition and honour back to
her family. Heinrich the Vogler or Heinrich I.
(Bass) is the German king who only happens
to be part of the action. It doesn't seem as if
he is really interested in the dispute, he only
wants to recruit warriors for the upcoming
battle against the Hungarians. Duke Gottfried,
Elsa's brother (silent role) The Army Shore of
the King (Bass) Four Brabant nobles (two
tenors, two basses) Four Edelknaben
(Sopranos and Old) Choir History: The
German King Henry I travels to the Duchy of
Brabant to form a larger army against the
attacking Hungarians. The state of the fight
against them is occasionally mentioned, but
does not play a role in the development of the
content. During his visit to Brabant, he
assumed the role of judge in the dispute
93
between Elsa and Telramund. First act -
Telramund and Elsa quarrel of court; arrival of
the unknown knight Frederick of Telramund
wanted to rule the Principality of Brabant and
therefore originally wanted to marry Elsa, the
daughter of the duke, but later decided to
marry Ortrud, a descendant of the Frisian
princes. Telramund has administered the land
since the death of Elsa's father and now wants
sole power over it. Therefore he accuses Elsa
of having killed her brother Gottfried, which
she denies, at the court, King Heinrich the
Vogler. She claims to have fallen asleep
during the last walk with her brother and to
have dreamed of a knight. After she woke up,
Friedrich disappeared. Since there is no
evidence, the judge's decision is as follows:
Both parties fight against each other, the
winner gets the empire. However, no one
contacts him to fight for Elsa and since she
herself cannot fight, Telramund thinks she has
already won. But at the last moment a knight
in silver armour appears, who was dragged
across the lake in a boat by a swan. The
unknown defeats Telramund and leaves him
alive on the condition of leaving the land. He
promises to marry Elsa, but also gives her a
premise. She could not ask him who he was
and where he came from.
LOHENGRIN (Richard Wagner) [Act 2]
(1:29:58) [Same cast as Above] History: The
German King Henry I travels to the Duchy of
Brabant to form a larger army against the
attacking Hungarians. The state of the fight
against them is occasionally mentioned, but
does not play a role in the development of the
content. During his visit to Brabant, he
assumed the role of judge in the dispute
between Elsa and Telramund. Second act -
Ortrud and Telramund plan revenge; wedding
Because no one had defeated Telramund
before, Ortrud and her husband said it had to
be a magic trick. They want to get Elsa to ask
her knight for his name. At the wedding Ortrud
insists on being the first to enter the church,
because she thinks she is higher in the
hierarchy than Elsa, who doesn't even know
the name of her future husband. Telramund
also tries to persuade the bride to ask the

"protector of Brabant", as the stranger might
be called, for his name. So Elsa slowly begins
to doubt, but marries the knight anyway.
(Video)
LOHENGRIN (Richard Wagner) [Act 3]
(1:12:49) [Same cast as above.] Third Act -
The Unveiling of the Identity of the Unknown
On the wedding night Elsa asks her husband
the "forbidden question" because her doubts
have remained. She also fears that she would
soon no longer be enough for him if he were
higher than she is. At that moment Telramund
storms into her chamber and tries to kill the
knight, which he doesn't succeed because he
is struck down before. The next day the
unknown man complains to the king about
Telramund (although he is already dead) and
also about Elsa, because she asked him
about his origin. The knight reveals Lohengrin
to be the son of the Grail King Parsifal, who
also sent him to help the innocent Elsa.
However, he had to return now, because he
was no longer unknown. Suddenly Ortrud
appears and reports that she herself has
turned Gottfried into a swan. Lohengrin then
sinks into deep prayer. The dove of the Grail
appears, Lohengrin pulls away on the boat,
the swan sinks and Gottfried gets out of the
water. Ortrud and Elsa fall to the ground in
shock and die. (Video)
SIMON BOCCANEGRA (Giuseppe Verdi)
[2:10:28] Direttore d'orchestra: Nino Verchi
Simon Boccanegra: Frank Guarrera Jacopo
Fiesco: Giorgio Tozzi Maria Boccanegra:
Renata Tebaldi Gabriele Adorno: Richard
Tucker Paolo Albiani: Ezio Flagello Pietro:
Norman Scott Ancella di Maria: Athena Vicos
Capitano dei balastrieri: Robert Nagy
Orchestra and Chorus of the Metropolitan
Opera House Febbraio 18, 1961 (Audio)
THE BEGGAR’S OPERA (John Gay /
Benjamin Britten) [1:19:29] Sir Peter Pears--
Captain Macheath Jennifer Vyvyan--Jenny
Diver Nancy Evans--Polly Peachum Otokar
Kraus--Lockit Benjamin Britten--conductor The
English Opera Group 1948; Radio Broadcast
94
Production by Tyrone Guthrie
================================
"The popularity of Britten’s three chamber
operas proper (The Rape of Lucretia, Albert
Herring and The Turn of the Screw) has
tended to somewhat overshadow his brilliant
adaptation of John Gay’s The Beggar’s
Opera, the realisation of which was completed
in 1948. Indeed, Britten’s harmonisations and
arrangements of the pre-existing tunes, which
he described as ‘among our finest national
songs’, is so personal and idiosyncratic that
the opera sounds like a totally original work.
Despite the longish stretches of spoken
dialogue, Britten brings all his usual
techniques of dramatic characterisation to
bear and binds the work together by effective
use of leitmotif and meaningful key-schemes."
Boosey & Hawkes (Audio)
THE BEGGAR’S OPERA (John Gay /
Benjamin Britten) [Act 1] (44:08) Benjamin
Britten (22 novembre 1913, 100 anni dalla
nascita) The Beggar: Roger Jerome
Peachum: David Kelly Filch: Bernard
Dickerson Mrs. Peachum: Anna Pollak Polly
Peachum: Janet Baker Macheath: Kenneth
McKellar Lockit: Bryan Drake Lucy Lockit:
Heather Harper English Chamber Orchestra
dir.Meredith Davies Director: Charles
R.Rogers recorderd 31 october 1963 (Video)
THE BEGGAR’S OPERA (John Gay /
Benjamin Britten) [Act 2] (15:14) (Same cast
as above)
THE BEGGAR’S OPERA (John Gay /
Benjamin Britten) [Act 3] (34:55) (Same cast
as above)
THE MAID OF ORLEANS (Peter
Tchaikovsky) [2:52:10] Maid of Orleans
Arkhipova Rozhdestvensky Tchaikovsky 1969
(From LP) Gennady Rozhdestvensky Moscow
Radio Symphony Orchestra and Chorus Joan
of Arc - Irina Arkhipova King Charles VII -
Vladimir Makhov Agnes Sorel - Claudia
Radchenko Dunois - Vlasimir Valaitis Lionel -
Sergei Yavkovchenko Archbishop - Lev
Vernigora Raymond - Andrei Sokolov

Bertrand - Viktor Selivanov Soldier - Vartan
Makelian Thibaut - Evgeni Vladimirov (Audio)
MAZEPPA (Peter Tchaikovsky) [2:54:20]
From the Mariinsky Theatre in St. Petersburg,
Russia (1996) Kirov Orchestra, Opera, Chorus
& Ballet Valery Gergiev - conductor Irina
Molostova - stage producer Soloists: Nikolai
Putilin – Mazeppa, Sergei Aleksashkin - Vasilij
Kocubej, Larissa Diadkova – Ljubov, Irina
Loskutova – Maria, Viktor Lutsiuk – Andrej,
Vladimir Zhivopistsev – Iskra, Vlatcheskav
Luhanin – Orlik, Nikolai Gassiev - a drunken
Cossak. Mazeppa / Мазепа Opera in three
acts based on the epic poem "Poltava" by
Alexander Pushkin, Libretto by Viktor Burenin
1:23 Overture 8:11 Act I, Scene 1 31:17 Act I,
Scene 2 47:07 Act II, Scene 1 1:02:10 Act II,
Scene 2 1:20:02 Act II, Scene 3 1:57:27 Act III
(Video)
BETROTHAL IN A MONASTERY (Sergei
Prokofiev) [2:37:04] Valery Gergiev -
conductor Vladislav Pazi - stage direction
Soloists: Nikolai Gassiev - Don Jerome, a
nobleman of Seville Aleksander Gergalov -
Don Ferdinand, his son Anna Netrebko -
Luisa, his daughter Larissa Diadkova -
Duenna, Luisa's governess Yevgeny Akimov -
Don Antonio d'Almanza Marianna Tarassova -
Clara d'Almanza Sergei Aleksashkin - Isaac
Mendoza, a wealthy fisherman Yuri Shkliar -
Don Carlos, an impoverished nobleman,
comrade of Mendoza Vladimir Vaneev - Padre
Augustine, father-superior of the monastery
Sergei Liadov - Padre Elustaf/Pablo/1st Mask
Georgy Zastavny - Padre
Chartreuse/Pedro/2nd Mask Fiodor Kuznetsov
- Padre Benedictine/Miguel/3rd Mask Liudmila
Kasianenko - Lauretta, Luisa's servant-maid
Liubov Sokolova - Rosina, Clara's servant-
maid Vladimir Zhivopistsev - Lopez,
Ferdinand's servant Sergei Prokofiev -
Betrohal in a Monastery (The Duenna) Lyric-
Comic Opera in four acts, nine scenes Libretto
95
by Sergei Prokofiev and Mira Mendelson, after
the play "The Duenna" by R.B. Sheridan 1:27
Act I, Scene 1 - A square in front of Don
Jerome's house 31:14 Act II, Scene 2 - At Don
Jerome's house 48:50 Scene 3 - The quay
1:07:09 Scene 4 - At Don Jerome's house
1:22:42 Act III - Scene 5 - At Mendoza's
house 1:37:58 Scene 6 - At Don Jerome's
house 1:49:50 Scene 7 - A garden in the
convent 2:04:34 Act IV - Scene 8 - A
monastery 2:19:49 Scene 9 - A hall in Don
Jerome's house. From the Mariinsky Theatre
in St. Petersburg, Russia (1998) Kirov Opera
Company, Kirov Chorus & Kirov Ballet (Video)
THE CREATION (Franz Josef Haydn)
[1:48:14] From the Haydn Hall at Esterházy
Palace in Eisenstadt, Austria On the occasion
of the 200th anniversary of the death of
Joseph Haydn in 2009 With English subtitles
Austro-Hungarian Haydn Philharmonic
Orchestra Wiener Kammerchor Michael
Grohotolsky - chorus master Adam Fischer -
conductor Soloists: Annette Dasch - soprano
Christoph Strehl - tenor Thomas Quasthoff -
bass-baritone Joseph Haydn - The Creation
(Die Schöpfung, Oratorium, Hob. XXI: 2) 1:57
Part I 2:10 The First Day 13:54 The Second
Day 17:56 The Third Day 29:42 The Fourth
Day 37:02 Part II 37:02 The Fifth Day 53:58
The Sixth Day 1:14:57 Part III (Video)
CHRISTA LUDWIG. HER LAST CONCERT
(Tribute To Vienna, 1994) (1:32:00) From the
Musikverein Vienna Charles Spencer - piano
A historic moment of exquisite beauty: Christa
Ludwig takes her leave of the opera and
concert stage. In a final Lieder recital
honouring the city that has seen her greatest
triumphs and that has been her spiritual
home, Ms. Ludwig performs a select
repertoire of Beethoven, Schubert, Mahler and
Wolf. 0:57 Ludwig van Beethoven - Ich liebe
dich 3:08 Ludwig van Beethoven - In questa
tomba oscura 6:24 Ludwig van Beethoven -
Freudvoll und leidvoll 8:14 Ludwig van
Beethoven - Die Trommel gerühret 11:48
Franz Schubert - Geheimnis 13:56 Franz
Schubert - Im Abendrot 17:20 Franz Schubert
- Der Tod und das Mädchen 20:22 Franz

Schubert - Frühligeglaube 23:37 Franz
Schubert - Heidenröslein 25:53 Franz
Schubert - Der Lindenbaum 30:12 Franz
Schubert - Sehnsucht 35:08 Franz Schubert -
Der Musensohn 38:20 Gustav Mahler - Ich
ging mit Lust durch einen grünen Wald 42:24
Gustav Mahler - Phantasie aus 'Don Juan'
44:40 Gustav Mahler - Frühlingsmorgen 46:25
Gustav Mahler - Um schlimme Kinder artig zu
machen 48:18 Gustav Mahler - Scheiden und
Meiden 51:38 Hugo Wolf - Auch kleine Dinge
53:35 Hugo Wolf - Gesegnet sei das grün
55:00 Hugo Wolf - Wir haben beide lange
geschwiegen 56:55 Hugo Wolf - Mein Liebster
hat zu Tische mich geladen 57:48 Hugo Wolf -
Bedeckt mich mit Blumen 1:01:03 Hugo Wolf -
In dem Schatten meiner Locken 1:03:01 Hugo
Wolf - Heimweh ("Anders wird die Welt")
1:06:07 Hugo Wolf - Der Gärtner 1:07:35
Hugo Wolf - Anakreons Grab 1:10:19 Hugo
Wolf - Verschwiegene Liebe 1:16:38 Leonard
Bernstein - I hate music 1:18:39 Hugo Wolf -
Wie lange schon war immer mein Verlangen
1:21:21 Richard Strauss - Morgen 1:27:36
Johannes Brahms - Guten Abend, gut'Nacht
(Video)
George Frederic Handel. TE DEUM FOR
THE VICTORY OF DETTINGEN, HWV 283
(35:21) From the Market Church, Halle, 2009
Concert on the occasion of the 250th
anniversary of the death of Georg Friedrich
Händel Felix Plock - bass The English
Concert Händelfestspielorchester Halle MDR
Rundfunkchor Hallenser Madrigalisten
Händelfestspielchor Chor der Oper Halle
Howard Arman - conductor Georg Friedrich
Händel - Te Deum for the victory of Dettingen
HWV 283 0:03 ”We praise Thee, oh God” 3:46
"All the earth doth worship Thee" 6:11 "To
Thee all angels cry aloud" 8:23 "To Thee
Cherubim and Seraphim" 11:30 "The glorious
company of the Apostles" 13:45 "Thou art the
King of Glory" 16:22 "When Thou tookest
upon Thee to deliver man" 19:46 "When Thou
hadst overcome the sharpness of death"
21:36 "Thou sittest at the right hand of God"
24:38 Sinfonia 25:09 "We therefore pray
Thee" 26:11 "Make them to be number'd with
Thy Saints" 27:27 "Day by day we magnify
96
Thee" 30:28 "Vouchsafe, oh Lord, to keep us
this day without sin" 32:05 "Oh Lord, in Thee
have I trusted". On the occasion of the 250th
anniversary of George Frideric Handel’s
death, two of the world’s leading baroque
orchestras and conductor Howard Arman
honour the composer by playing the repertoire
of the historic Handel Commemoration
Concert which took place in London’s
Westminster Abbey 25 years after Handel’s
death. This outstanding British-German
performance in Handel’s baptistery, the
Market Church in Halle, represents the media
highlight of the Handel Year 2009. (Video)
THE GAMBLER (Sergei Prokofiev) [2.06.20]
From the Mariinsky Theatre in St. Petersburg,
December 2012 Orchestra of the Mariinsky
Theatre Valery Gergiev - musical director and
conductor Sergei Aleksashkin - a Retired
General in civilian clothes Tatiana
Pavlovskaya - Pauline, the General’s step-
daughter Vladimir Galuzin - Alexei, tutor of the
General’s children Larisa Dyadkova -
Babulenka Nikolai Gassiev - Marquis
Alexander Gergalov - Mr Astley, a rich
Englishman Nadezhda Serdyuk - Mlle
Blanche, a demi-mondain Andrei Popov -
Prince Nilsky Oleg Sychev - Baron
Wurmerhelm Andrei Spekhov - Potapych
Sergei Prokofiev: The Gambler - Opera in four
acts and six scenes Libretto by the composer
after the novella of the same name by Fyodor
Dostoyevsky Prokofiev flows in the veins of
the Mariinsky Theatre’s musicians, and has
moreover done so for a long time; and the fact
that, under Gergiev’s baton, the orchestra and
the opera company performed all of Sergei
Prokofiev’s symphonies, all of his concerti and
all of his operas more than once is here of
fundamental significance. All the senses and
all the emotions are presented here by the
orchestra in full on an immense yet refined
palette of sounds, with a full understanding of
both the text and subtext of the events, in the
lively action and with Gergiev’s inherent
magic. (Video)

THE NOSE (Dmitri Shostakovich) [1:43:20]
Dmitri Shostakovich The Nose Eduard
Akimov, Platon Kuzmich Kovalyov Alexander
Lomonosov, The Nose Valery Belykh, Ivan
Yakovlevich, a barber Nina Sasulova,
Praskovia Osipovna, the barber's wife Boris
Tarkhov, Local Policeman Boris Druzhinin,
Ivan, Kovalyov's footman Ashot Sarkisov,
Doctor Moscow Chamber Opera Theatre
Chorus & Orchestra Gennady
Rozhdestvensky, conductor Live recording.
Moscow, 1979 (Video)
THE NOSE (Dmitri Shostakovich) [2:13:27]
(Sung in English)
3 DANCES FROM HENRY VIII (Sir Edward
German) [8:31] Sir Edward German (17
February 1862 – 11 November 1936) was an
English musician and composer of Welsh
descent, best remembered for his extensive
output of incidental music for the stage and as
a successor to Arthur Sullivan in the field of
English comic opera. Some of his light operas,
especially Merrie England, are still performed.
Three Dances from Henry VIII (1892) 1.
Morris Dance 2. Shepherd's Dance (2:24) 3.
Torch Dance (6:13) Northern Symphony
Orchestra conducted by Richard Hickox.
(Audio+Score)
MACBETH (Giuseppe Verdi) [24:59] (3 Arias
sung by Birgit Nilsson. Argeo Quadri) [Audio]
PARSIFAL (Richard Wagner) [4:28:48] Amfortas
– Falk Struckmann Titurel – Matthias Hölle
Gurnemanz – Hans Sotin Parsifal – Poul
Elming Klingsor – Ekkehard Wlaschiha
Kundry – Linda Watson 1. Gralsritter - Richard
Brunner 2. Gralsritter - Sándor Sólyom-Nagy
1. Knappe - Sarah Fryer 2. Knappe - Jane
Turner 3. Knappe - Helmut Pampuch 4.
Knappe - Peter Maus Klingsors
97
Zaubermädchen - Claudia Barainsky
Klingsors Zaubermädchen - Joyce Guyer
Klingsors Zaubermädchen - Simone Schröder
Klingsors Zaubermädchen - Katerina
Beranova Klingsors Zaubermädchen -
Dorothee Jansen Klingsors Zaubermädchen -
Laura Nykänen Altsolo - Andrea Bönig
Bayreuth Festival Chorus and Orchestra
Giuseppe Sinopoli, conductor Wolfgang
Wagner, stage director and set designer
Recorded live from the Bayreuth Festival,
1998. (Video)
FRANCISCO ARAIZA. OPERA ARIAS
(49:12) 0:00:01 Francisco Araiza - Verdi.
Rigoletto. Ella mi fu rapita! 0:11:04 Francisco
Araiza - Massenet. Manon. Ah fuyez, douce
image 0:16:00 Francisco Araiza - Puccini.
Tosca. E lucevan le stelle 0:19:12 Francisco
Araiza - Cilea. L'Arlesiana. E la solita storia
del pastore 0:23:40 Francisco Araiza -
Чайковский. Евгений Онегин. Куда, куда вы
удалились 0:30:04 Francisco Araiza -
Puccini. La Boheme. Che gelida manina
0:34:58 Francisco Araiza - Massenet.
Werther. Traduire!... Pourqoi me reveiller
(Audio)
WOLFGANG AMADEUS MOZART.
COMPLETE MOZART EDITION. Vol. 1. CD 1
(1:03:55) 0:00:01 Symphony No. 1 E Flat
Major, K16 - I. Allegro molto 0:06:09
Symphony No. 1 E Flat Major, K16 - II.
Andante 0:08:59 Symphony No. 1 E Flat
Major, K16 - III. Presto 0:11:14 Symphony No.
4 in D Major, K19 - I. Allegro 0:15:58
Symphony No. 4 in D Major, K19 - II. Andante
0:19:19 Symphony No. 4 in D Major, K19 - III.
Presto 0:21:32 Symphony in F Major, K App.
223-19a - I. Allegro assai 0:25:22 Symphony
in F Major, K App. 223-19a - II. Andante
0:29:06 Symphony in F Major, K App. 223-19a
- III. Presto 0:31:49 Symphony No. 5 in B Flat
Major, K22 - I. Allegro 0:34:22 Symphony No.
5 in B Flat Major, K22 - II. Andante 0:37:28
Symphony No. 5 in B Flat Major, K22 - III.
Allegro molto 0:38:47 Symphony No. 6 in F
Major, K43 - I. Allegro 0:43:14 Symphony No.
6 in F Major, K43 - II. Andante 0:46:56
Symphony No. 6 in F Major, K43 - III.

Menuetto 0:49:17 Symphony No. 6 in F Major,
K43 - IV. Allegro 0:52:15 Symphony No. 7 in
D Major, K45 (Overture La finte semplice) - I.
Ouverture (Allegro) 0:55:04 Symphony No. 7
in D Major, K45 (Overture La finte semplice) -
II. Andante 0:57:47 Symphony No. 7 in D
Major, K45 (Overture La finte semplice) - III.
Menuetto 1:01:29 Symphony No. 7 in D Major,
K45 (Overture La finte semplice) - IV. (Allegro)
Sir Neville Marriner. Academy of St. Martin in
the Fields (Audio)
WOLFGANG AMADEUS MOZART.
COMPLETE MOZART EDITION. Vol. 1. CD 2
(1:09:47) Symphony in G Major, K deest
'Neue Lambacher' 0:00:00 I. Allegro 0:04:19
II. Andante un poco allegretto 0:07:22 III.
Menuetto 0:10:22 IV. Allegro Symphony
No.7a in G Major, K App. 221-45a 'Alta
Lambacher' 0:15:10 I. Allegro maestoso
0:17:48 II. Andante 0:21:45 III. Presto
Symphony [No. 55] in B Flat, K App. 214-45b
0:23:37 I. Allegro 0:25:47 II. Andante 0:29:22
III. Menuet 0:32:11 IV. Allegro Symphony No.
8 in D Major, K48 0:34:56 I. (Allegro) 0:38:03
II. Andante 0:41:39 III. Menuetto 0:45:29 IV.
(Allegro) 0:48:06 Minuet in A Major, K61g No.
1 Symphony No. 9 in C Major, K73 0:49:03 I.
Allegro 0:52:24 II. Andante 0:55:40 III.
Menuetto 0:58:39 IV. Allegro molto Symphony
No. 10 in G Major, K74 1:01:00 I. (Allegro)
1:04:05 II. (Andante) 1:07:35 III. (Allegro)
Academy of St. Martin in the Fields Neville
Marriner (Audio)
EZIO (George Frederick Handel) [3:06:48]
Valentiniano – Sonia Prina Ezio – Ann
Hallenberg Massimo – Anicio Zorzi Giustiniani
Fulvia – Karina Gauvin Onoria – Marianne
Andersen Varo – Vito Priante.Il Complesso
Barocco. Alan Curtis (Audio)
GIULIO CESARE (George Frederick
Handel) [3.04.02] (Sung in English) Dame
Janet Baker mezzo-soprano - Julius Caesar
Christopher Booth-Jones baritone - Curio
Sarah Walker mezzo-soprano - Cornelia Della
Jones mezzo-soprano - Sextus Valerie
Masterson soprano - Cleopatra James
Bowman countertenor - Ptolemy John
98
Tomlinson bass - Achillas David James
countertenor – Nirenus. Sir Charles
Mackerras (Audio)
VIRGINIA ZEANI (Opera Arias) [38:16]
0:00:00 Virginia Zeani - Puccini. Gianni
Schicchi. O Mio Babbino Caro 0:02:15 Virginia
Zeani - Puccini. Turandot. Signore, Ascolta
0:04:24 Virginia Zeani - Puccini. Turandot. Tu
Che di Gel Sei Cinta 0:06:54 Virginia Zeani -
Puccini. La Boheme. Si, Mi Chiamano Mimi
0:11:20 Virginia Zeani - Puccini. La Boheme.
Donde Lieta Usci 0:14:14 Virginia Zeani -
Puccini. Madama Butterfly. Un Bel Di
Vedremo 0:18:19 Virginia Zeani - Puccini.
Madama Butterfly. Tu, Tu, Piccolo Iddio!
0:20:34 Virginia Zeani - Puccini. Suor
Angelica. Senza Mama 0:24:31 Virginia Zeani
- Puccini. Manon Lescaut. In Quelle Trine
Morbide 0:26:54 Virginia Zeani - Puccini.
Manon Lescaut.Sola, Perduta, Abbandonata
0:30:49 Virginia Zeani - Puccini. Tosca. Vissi
D'Arte 0:33:50 Virginia Zeani - Puccini. La
Rondine. Chi Il Bel Sogno di Doretta 0:36:04
Virginia Zeani - Puccini. La Boheme. Quando
Men' Vo Franco Patane. Orchestra
dell'Accademia di Santa Cecilia, Roma
(Audio)
FRANZ SCHUBERT. SYMPHONIES Nos. 2
& 6 (Played on Original Instruments)
[1:06:30] 0:00:01 Symphony No 2 in B-flat
major, D.125 - I. Largo - Allegro vivace
0:13:53 Symphony No 2 in B-flat major, D.125
- II. Andante 0:22:06 Symphony No 2 in B-flat
major, D.125 - III. Menuetto & Trio. Allegretto
0:25:30 Symphony No 2 in B-flat major, D.125
- IV. Presto vivace 0:33:29 Symphony No 6 in
C major, D.589 - I. Adagio - Allegro 0:43:07
Symphony No 6 in C major, D.589 - II.
Andante 0:50:36 Symphony No 6 in C major,
D.589 - III. Scherzo. Allegro 0:56:52
Symphony No 6 in C major, D.589 - IV. Finale.
Allegro moderato Roy Goodman, The
Hanover Band (1990) [Audio]
99
100