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www.discogs.com/JS-Bach-Gidon-Kremer-Academy-Of-St-Martin.... Gramophone Review 1985:
This is among the most vigorous of Bach playing, of superlative quality within its chosen style. The quality extends both to the soloist and the strings of the orchestra. It probably would have done, too, to the harpsichordist if he had been audible; but only one or two distant chords in the finale of the Double Concerto suggested, without certainty, that indeed there was one there at all. The deficiency is not wholly decisive in these particular pieces; and anyway the ear is riveted by the propulsive style and strong, rich tone of all the string-players. The propulsive rhythm survives the absence of a separate conductor, and the ritardandos at cadences are mostly managed very well: just once, perhaps, the ritardando seemed a trifle tentative. And just once, perhaps, the strings seemed actually too strong, with overpowering accompanying detached chords, in F, in the middle movement of the A minor Concerto. But where, in this concerto and elsewhere, the cadences needed decorating Kremer leaps into action most effectively, with stylish, short amplifications of Bach's outline.
The recording is also of splendid quality, matching the strong string tone ideally. Yet in spite of this marvellous sound two questions should be raised before unreserved recommendation is made. One is that the vigour itself, applied pretty impartially throughout, might better have been modified, given way to a more lyrical style in some passages, some movements even. "Twice too fast," some will say of the Double Concerto's first movement; the arithmetic will be exaggerated, but the reaction will be quite a natural one. The other question is more a psychological one; it is whether, in this Double Concerto, the performance (however good) of both solo parts by the same player is not antipathetic to the spirit of the conversation between two living, human beings envisaged by Bach. Music is a marvellous release of the human spirit, for musician and listener alike; and it may be that in an increasingly mechanical world a few rearguard actions in favour of humanity, may here and there be in place.
For those still, very reasonably, in doubt about a decision, it should perhaps be added that the E major Concerto is split between the two record sides. M . M .
The Double Concerto is here making its fourth appearance on CD (itself some kind of record) but this is the first version in which the same soloist uses overdubbing techniques to perform both parts. Gidon Kremer is thus able to match phrases and 'dialogue' passages with precision; yet we do lose a sense of interplay between two individual artists. More to the point are the fast tempos and full-toned sound throughout all three works. Our reviewer MM describes the performances above as "vigorous" and there is indeed little relaxation even in the slow movements. Overall sound, however, is of high-fidelity standards with the bright acoustic contributing to a recording of exceptional clarity.
JOHN BORWICK.
www.discogs.com/Fania-All-Stars-Live-At-The-Cheetah-Vol-2.... Fania All Stars - Live at the Cheetah, Vol.2 - Ray Barretto, Willie Colon, Larry Harlow, Johnny Pacheco, Roberto Roena, Bobby Valentine, Santos Colon, Hector Lavoe, Ismael Miranda, Pete "El Conde" Rodriguez, Adalberto Santiago, Bobby cruz, Jose "Cheo" Feliciano, Ricardo Ray, Renaldo Jorge, Roberto Rodriguez, Barry Rodgers, Larry Spencer, Yomo Toro, Orestes Vilato,Hector Zarzuela
This classic 1971 Fania All-Stars concert album (for many, the original cast of this legendary band) is the result of the fusion of six of Fania Records’ most popular bands and soloists. And their anthological performance at the Cheetah Club on August 21, 1971, is not only considered the birth of the legend that still defines the stellar band to this day, but also the birth of the 1970’s salsa boom. This performance also yielded four equally anthological products: the classic movie Our Latin Thing and its soundtrack and the two volumes of the Live at Cheetah albums. You’re holding volume two in your hands right now.
By 1971, and with the then seven-year-old Fania label running at full potential, supported mainly by the popularity of the bands led by Ray Barretto, Willie Colón, Larry Harlow, Johnny Pacheco (Fania’s co-founder), Roberto Roena, Bobby Valentín, and the new and highly sought after addition Ricardo Richie Ray, label president Jerry Masucci revisits the idea of his All-Stars, a concept he already presented in 1968 at the defunct Red Garter Club. Harlow suggests the idea of filming the new performance and making a movie, which Masucci agreed to. But the idea garnered little feedback from club owners back then, who thought a Fania All-Stars night wouldn’t be profitable. Only Ralph Mercado, a successful Dominican impresario whose resume listed clubs like the recognizable Three-and-One (made popular in the late 1960’s by Richie Ray on his tune 3 and 1 Mozambique, and who at the time ran the Cheetah Club, was attracted by Masucci’s idea. Assuming he’d lose money on this bet, Mercado negotiated the final conditions: the gig would be on a Thursday and he’d keep the ticket revenues, which Masucci agreed to since no one else was buying.
On that night of August, a whopping 4,000 attended the show, doubling the club’s capacity, in addition to a large number of people who could not enter the venue, a line, that according to those who witnessed the event, stretched two blocks long. Masucci’s gamble was a total success… and the preface of bolder, bigger plans for Fania’s president.
This second volume of “Live at Cheetah” starts with an impromptu rumba jam where the chorus salutes a certain Ruben in the audience.The chant: A donde está Ruben, a donde está?) for years has been mistakenly credited as dedicated to Ruben Blades, who wasn’t even in New York at the time. The actual person referenced here is a dancer named Ruben Santiago. Then Harlow takes the microphone and introduces Richie Ray and Bobby Cruz to a standing ovation, as they perform their own song “Ahora Vengo Yo”, composed especially for this show, with Ray’s younger brother and trumpet virtuoso Ray Maldonado sitting in. “Estrellas de Fania”, which was actually that concert’s opener, introducing singers Adalberto Santiago, Hector Lavoe, Ismael Miranda, Pete El Conde Rodriguez and Santos Colón. (Note: the original LP notes credit the trombone solo to Reynaldo Jorge, but the actual soloist is Willie Colón)
“Que Barbaridad” is Miranda’s page in this songbook and it has its own story too—the band was having a hard time rehearsing this track earlier that day as Miranda had arrived to late to the sessions from the barber shop, which resulted in Pacheco dubbing him with the moniker El Niño Bonito, a curse that will mark Miranda forever. “Ponte Duro”, which became All Stars’ closing tune from that night on, is an open jam showcasing Roena’s skills on bongo. The lengthy “Macho Cimarrón” is a tour de force for El Conde’s prowess, with Pacheco, Harlow and Colón’s soloing as the icing on the cake. A reprise of the band’s intro theme brings this glorious night to its end.
1 of 2 copies, not identical.
www.discogs.com/Ravel-Werner-Haas-Alceo-Galliera-Monte-Ca...
Gramophone Review:
This _does not supplant the Collard/Maazel/ French National Orchestra performances of these pieces (HMV ASD3845, 6/80), which gained a Gramophone Record Award for 1980, but Haas and Galliera's interpretations have long been regarded as exceptional. When they first appeared, in 1970, Haas, a Gieseking pupil, was not well known, and surprise was expressed over the high quality of the Monte-Carlo orchestra's work. The pianist displays precise control throughout the G major Concerto, romantic feeling in some passages, and in others a pretty fair response to the jazz elements. A magical quiet is attained in the Adagio, while the finale is a true presto, yet very cleanly played. All this applies as much to the orchestra as to the soloist, and Galliera is most perceptive. The opening of the Lefthand Concerto was recorded with remarkable clarity for the period, and Haas's playing exhibits now electric precision, now tender sensuousness.
M. H.
.
www.discogs.com/Belgrado-Belgrado/release/2944359
[crop from photo taken with Rollei 35 SE + Ilford Delta 3200. slightly pushed] 31.01.2014. RSFBelgrado2
The Transmat Records studio is located in Detroit's Eastern Market. Transmat is the imprint of Derrick May, one of the original producers of the Detroit Techno sound.
See also: Juan Atkins (Metroplex Records) and Kevin Saunderson (KMS Records).
Click here to see where this photo was taken.
Mozart, Schubert, Brahms, Debussy - Inge Spinette & Jan Michiels Piano
www.discogs.com/Wolfgang-Amadeus-Mozart-Franz-Schubert-Jo...
Handel - 4 Organ Concertos - Gabor Lehotka Orgel Orgue, Budapest Strings, Karoly Botvay, Neues Bachisches Collegium Musicum, Max Pommer. www.discogs.com/Georg-Friedrich-H%C3%A4ndel-Les-Fleurs-4-...
Bach - Orgelbuchlein BWV 599-644 - Wolfgang Zered Organ Orgue. www.discogs.com/Johann-Sebastian-Bach-Wolfgang-Zerer-Orge...
Mendelssohn & Brahms - Violin Concertos op.64 & op.77 - Dmitri Sitkovetsky Violin, Academy St.Martin, Marriner. www.discogs.com/Dmitry-Sitkovetsky-Sir-Neville-Marriner-A...
Coldplay - LeftRightLeftRightLeft. www.discogs.com/Coldplay-Left-Right-Left-Right-Left/relea...
Gesualdo - Madrigali Libro I & III - Kassiopeia Quintet, Rare Record
www.discogs.com/release/23866397-The-Kassiopeia-Quintet-C...
www.discogs.com/release/23866643-The-Kassiopeia-Quintet-C...
Barbara Bonney - The Radiant Voice
www.discogs.com/release/11995963-Barbara-Bonney-The-Radia...
The Juliana Hatfield three - Become what you are
www.discogs.com/release/898757-The-Juliana-Hatfield-Three...
Second Viennese School - Schoenberg, Webern, Berg - Simon Rattle, EMI Box, Rare Record
www.discogs.com/release/18530953-Simon-Rattle-Schoenberg-...
Festival d'Opera Vol.2 & 3 - Mozart, Verdi, Catalani, Giordano, Puccini, Wagner, Beethoven, Rossini - Montserrat Caballe, Merella Freni, Kiri Te Kanawa, June Anderson, Placido Domingo, Luciano Pavarotti, Leo Nucci, Cecilia Bartoli, Joan Sutherland, Frederica von Stade, Jose Carreras, Rene Kollo, Giacomo Aragall, Not on D
Mozart, Debussy, Stravinsky - Girshenko & Belotserkovskaja,
Louis Toebosch - Maghet Uitvercoren - Kamerkoor Ad Parnassum, Rare Record
www.discogs.com/release/12113688-Louis-Toebosch-Kamerkoor...
The Muses Garden - Robert Jones, Emma Kirkby & Anthony Rooley, Not on D
Chant Gregorien - Dominica Resurrectionis - Nova Schola Gregoriana, Alberto Turco, Arion, Rare Record
www.discogs.com/release/11250977-Nova-Schola-Gregoriana-D...
Sacrum Chant - Missa in Gallicantu - The Tallis Scholars, Peter Phillips, Gimell
www.discogs.com/release/6357277-The-Tallis-Scholars-Peter...
Gregorian Chant - Tod & Auferstehung - Benediktiner Abtei Munsterschwarzach, Godehard Joppich
www.discogs.com/release/11509847-Benediktinerabtei-M%C3%B...
Berlioz - La Damnation de Faust, 400 Jaar Opera - Josephine Veasey, Nicolai Gedda, Jules Bastin, Richard van Allan, LSO & Chorus, Sir Colin Davis, 1 of 2 copies
www.discogs.com/release/14642529-H-Berlioz-Josephine-Veas...
Het mooiste uit 400 jaar Opera, not on D
La Chitarra Romantica - Italy - Vincenzo Saldarelli Guitar, Tiziana Tramonti Soprano, Alberto Bologni Violin, Olga Arzilli Viola, Christophorus World 1st Recording, Rare Record
www.discogs.com/release/19490314-Vincenzo-Saldarelli-Tizi...
Rodrigo - Conciertos - Pepe Romero Guitar, Academy St.Martin, Marriner, Philips, Rare Record
www.discogs.com/release/10637083-Pepe-Romero-Joaqu%C3%ADn...
Archirana, CEMDUC, Peru, Not on D
Musica de Roberto Carpio - Pontificia Universidad Catolica del Peru, Not on D
Ultimate Collection - Julian Bream & John Williams - Together, 2CD
www.discogs.com/release/2027397-Julian-Bream-John-William...
1 of 2 copies. www.discogs.com/Johann-Sebastian-Bach-Concertgebouw-Orche...
Bach - Chore & Chorale aus Matthaus-Passion Matthew Matthieu BWV 244 - Agnes Giebel, Marga Hoffgen, Marijke Smit Sibinga Cembalo Harpsichord Clavecin, Bernard Bartelink Orgel Organ OrgueNederlands Omroepkoor, Knabenchor Boyschoir Jongenskoor St.Willibrords-Kerk Amsterdam, Concertgebouw Orch., Eugen Jochum, Philips 802 786 LY
www.discogs.com/Various-Top-Ten-Classics/release/10050245. Mozart - Symphony No.40 KV550 - LSO, Colin Davis,
Bach - Suite No.3 BWV 1068 - Raymond Cohen Violin, Leslie Pierson Cembalo, English Chamber Orch., Raymond Leppard,
Bach - Suite No.2 BWV 1067 - Richard Adeney Flute, English Chamber Orch., Raymond Leppard,
Dvorak - Serenade in d op.44 - Dutch Wind Ensemble, Edo de Waart,
Beethoven - Symphony No.9 op.125 - Hilde Gueden, Aafje Heynis, Fritz Uhl, Heinz Rehfuss, Lamoureux Orch., Igor Markevitch,
Khachaturian - Gajane, Sabledance - Residency Orch., Witold Rowicki,
Rodrigo - Concierto de Aranjuez - Angel Romero Guitar, San Antonio SO, Victor Alessandro, Rachmaninov - Prelude op.3 No.2 - Siegfried Stockigt Piano, Leipzig RSO, Robert Hanell,
Albinoni - Adagio - Maria Teresa Garatti Orgel Organ Orgue, I Musici,
Saint-Saens - Danse Macabre op.40 - ConcertGebouw Orch., Bernard Haitink, Philips 6833 040
1 of 2 copies. www.discogs.com/Stefan-Askenase-Fr%C3%A9d%C3%A9ric-Chopin...
Gramophone review 1957:
If George Sand were comparing the above recordings in these columns, I am pretty certain she would root wholeheartedly for Mr. Askenase. His charmingly wayward performances suggest an eager female audience of another age, as easily melted by the hesitations as fired by the sudden bravura passages. For all I know, this is how Chopin himself played, and certainly Mr. Askenase conveys something of that improvisatory character of Chopin's playing of which so many of his contemporaries wrote. But no one would call him a virile pianist. In the very first waltz, the one in E flat, he broods over the music in gentle contemplation, and though I am quite sure the composer meant this piece to sound as elated and joyous as the pianist can make it, the effect is not unpleasant. I feel less enthusiasm for his slow tempo in the G flat (why, bless me, I can play it at that speed myself), for the staccato notes in the " alto " line of the posthumous D flat, and for his over-use of the soft pedal in the " Minute " waltz. Also he is inclined to use too much sustaining pedal, notably in the A minor. Frankly I prefer Rubinstein's more masculine approach and more controlled rhythm in these pieces ; not to mention his more assured technique. But if you like your Chopin capricious, Askenase is your man. The very last waltz of all is most exquisitely played, and indeed all through this disc there are moments of enchanting grace and poetic feeling that will, for many listeners, more than outweigh his rather flaccid attitude to the music as a whole. R.F.
www.discogs.com/Cappella-Amsterdam-Jan-Boeke-Hodie-Christ...
Anneke Boeke Renaissance Flute, Saskia van der Wel Violoncell JN le Clerc 1769Saskia Straver- Marineke Thissen- Marion van Zonneveld -Wilke te Brummelstroet- Yolanthe Schaap- Alide Verheij, Margriet Agricola -Kees Langeveld -Bouke Lettinga -Ruth Winsemius, Mark Howard-Willem de Jong- Ton Kluizenaar-Han de Roos, Keimpe Algra-Peter Booij- Willem Hering - Daniel Reuss, Kistorgel Grote Kerk Edam, Barend Smit & Matthijs Verhofstad & Flentrop, SCA 101-2 Digitaal
1 of 3 copies
www.discogs.com/Giuseppe-Verdi-Carlos-Kleiber-Ileana-Cotr...
Review:
The best Traviata on disc?
If not, it's within hailing distance. This set offers the best all-round combination of excellent sound, fine singing, and dynamic conducting. Ileana Cotrubas is a wonderfully spontaneous Violetta, conveying the passion and vulnerability of the character. Only Callas among her starry rivals on disc can match Cotrubas's emotional and vocal mastery here. Domingo sings with ardor, and Milnes uses his beautiful voice to good effect as Germont. But it's Carlos Kleiber's show, and that enigmatic conductor leads the most energetic Traviata since Toscanini. Tempos are fast, but his sense of theatricality is unerring--this is one of those studio recordings that captures the sense of being at the opera house listening to one of those rare performances when everything clicks.
Ileana Cotrubas will break your heart. Her sweet, silvery voice makes a delicate and touching Violetta. She sings a very sparkling and lovely "Sempre libera." Her voice is beautiful--far lovelier than Maria Callas's. And her interpretation of the role will leave you in tears, especially in her duets with Sherill Milnes' incomparable Germont. And in her "Addio del passato." Listen to the emotion in her voice when she reads Alfredo's letter....
Placido Domingo is the perfect Alfredo with his warm, romantic tenor voice.
Don't miss this one.
www.discogs.com/Ravel-Orchestre-De-Paris-Jean-Martinon-Al.... Bolero, Sheherazade, Scheherazade, Rhapsodie Espagnole, Rapsodie, La Valse, Daphnis et Chloe, Tzigane, Valses Nobles et Sentimentales, Ma Mere l'Oye, Le Tombeau de Couperin, Pavane pour une infante defunte, Alborada del Gracioso, Menuet Antique, Une Barque sur l'Ocean, Konzert fur die linke Hand, Left, Klavierkonzert G-Dur, Piano Concerto G Major, Marcel Galiegue, Michel Garcin-Marrou, Andre Sennedat, Jean-Claude Malgoire, Choeurs Theatre Nat. Opera Paris, Jean Laforge, EMI Electrola C 191-02 583/87Q. Rare Record
Duet – Doris Day And André Previn With The André Previn Trio
Vinyl LP (1962)
Label: Columbia
Catalog No.: CS 8552
Stereo
out-of-print
▶ Back cover: here.
**************
☞ Side 1
1. Close Your Eyes 3:07
2. Fools Rush In 3:50
3. Yes 3:24
4. Nobody's Heart 3:52
5. Remind Me 3:58
6. Who Are We To Say 2:58
☞ Side 2
1. Daydreaming 3:06
2. Give Me Time 3:27
3. Control Yourself 2:55
4. Wait Till You See Him 3:03
5. My One And Only Love 3:38
6. Falling In Love Again 2:52
*************
Vocals – Doris Day
Piano – André Previn
Bass – Red Mitchell
Drums – Frank Capp
Arrangements – André Previn
*************
▶ Doris Day (3 April 1922 – 13 May 2019) died last week at the age of 97. A very successful girl-next-door film actor, Ms. Day began her career as a big band singer. In the 1940s, she recorded two Top 40 hits with Les Brown and his Band of Renown.
She never discarded her singing career (even starring as a singer in Alfred Hitchcock's "The Man Who Knew Too Much"). In 1962, Ms. Day collaborated with pianist/arranger André Previn for a jazz album, "Duets" (named that despite a trio of piano/bass/drums backing her up).
Previn would soon thereafter become internationally regarded as a classical symphony orchestra conductor, but piano jazz remained a love for him. Here, he provides tasteful, cool accompaniment. As for Ms. Day, she's sweetly on point and closely-miked. Think June Christy but with less nudge-nudge-wink-wink.
An album comprising mostly standards, Duet's only clunker is a hackneyed show-tune-esque "Control Yourself," but one out of twelve ain't bad. Of those, standouts include "Falling in Love Again," "Close Your Eyes," and "Daydreaming" —itself like a distaff but booze-less "One More for the Road": ("Daydreaming, just daydreaming. Well it's kind of fun for one who's out alone").
Previn wrote the music and singer/songwriter Dory Langdon wrote its lyrics (and those of two other songs on the album). At the time, she was married to Previn. He was a cad. A few years later, he would cheat on her with Mia Farrow. Mr. Previn died earlier this year.
Rounding out the musicians are Red Mitchell on (do I have to say "acoustic"?) bass and Frankie Capp on drums. Mitchell was a studio musician and successful 'West-Coast' jazzman in his own right. Capp was a jazz timekeeper, first and foremost, but, to pay the bills, he also was a drummer in a loosely associated coterie of sought-after studio musicians for rock 'n' roll and Top 40 recordings during the 1960s-70s, later referred to as the "Wrecking Crew."
***************
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www.discogs.com/release/10175369-Handel-Simon-Preston-Yeh... Handel - The Organ Concertos (Complete) - Simon Preston Orgel Organ Orgue, Colin Tilney, Valda Aveling Harpsichord Clavecin Cembalo, Bath Festival Orch., Yehudi Menuhin Festival Orch., Merchant Taylors' Hall, Queen Elisabeth Hall, Great Packington Parish Church Warwickshire, St.Paul's Girls School Hammersmith, EMI SLS 824, Box 4 Lp, 1968 1969 1970 1971
www.discogs.com/Johann-Sebastian-Bach-Karl-Richter-Passio...
1 of 4 copies, not identical
Bach - Passio Secundum Matthaeum - Matthaus Matthew St.Matthieu, BWV244 - Ernst Haefliger, Kieth Engen, Antonie Fahberg, Max Proebst, Irmgard Seefried, Herta Topper, Dietrich Fischer-Dieskau Bass, Walther Theurer, Wolfgang Haag, Edgar Shann,Kurt Hausmann, Otto Buchner, Oswald Uhl, Karl Kolbinger,Franz Ortner, Ekkehard Tietze, Hedwig Bilgram - Munchener Bach-Chor & Chorknaben & Orchester, Karl Richter, DGG Archiv Box 4Lp
Rare record. www.discogs.com/Various-Collectors-History-Of-American-Bl.... Louis Armstrong, Count Basie, Sidney Bechet, Bix Beiderbecke, Big Bill Broonsy, Brownie & Sonny, Ray Charles, Champion Jack Dupree, Ella Fitzgerald, Earl 'Fatha' Hines, Billie Holiday, Groove Holmes, John Lee Hooker, Lightnin' Hopkins, Cisco Houston, Blind Lemon Jefferson, James P.Johnson, Leadbelly Ledbetter, Meade 'Lux' Lewis, Jelly Roll morton, King Oliver, Charlie Parker, Jimmy Reed, Jimmy Rushing, Memphis Slim, Bessie Smith, Otis Spann, Maxine Sullivan, Jack Teagarden, Sarah Vaughan, Fats Waller, Josh White, Big Joe Williams, Jimmy Witherspoon, Lester Young, Murray Hill Records 959054
Rare Record.
www.discogs.com/Schumann-Brahms-Lieder-On-Record-1901-195...
A1 Der Nussbaum (Myrthen)
Tenor Vocals – Fritz Schrödter
A2 Ich Grolle Nicht (Dichterliebe) / French
Soprano Vocals – Félia Litvinne
A3 Ich Hab Im Traum Geweinet (Dichterliebe) / Russian
Tenor Vocals – Nicolai Figner
A4 Er, Der Herrlichste Von Allen (Frauenliebe Und -leben)
Soprano Vocals – Marie Knüpfler-Egli
A5 Intermezzo (Liederkreis, Op.39)
Soprano Vocals – Lilli Lehmann
A6 Wanderlied
Tenor Vocals – Willi Birrenkoven
A7 Die Beiden Grenadiere / Italien
Bass Vocals – Vittorio Arimondi
A8 Volksliedchen
Mezzo-soprano Vocals – Therese Behr-Schnabel
A9 Der Schatzgräber
Mezzo-soprano Vocals – Therese Behr-Schnabel
A10 Der Soldat
Mezzo-soprano Vocals – Therese Behr-Schnabel
A11 Die Lotosblume (Myrthen) / Italian
Tenor Vocals – Guiseppe Borgatti
A12 Du Bist Wie Eine Blume (Myrthen) / Italian
Tenor Vocals – Guiseppe Borgatti
B1 Die Lotosblume (Myrthen)
Tenor Vocals – Leo Slezak
B2 Frühlingsnacht (Liederkreis, Op.39) / Russian
Soprano Vocals – Lydia Lipkovska
B3 Die Rose, Die Lilie (Dcihterliebe) / Russian
Soprano Vocals – Lydia Lipkovska
B4 Ich Grolle Nicht (Dichterliebe)
Tenor Vocals – Erik Schmedes
B5 Frauenliebe Und -leben (complete)
Contralto Vocals – Julia Culp
B6 Die Beiden Grenadiere / Russian
Bass Vocals – Feodor Chaliapin
C1 Widmung (Myrthen)
Soprano Vocals – Freida Hempel
C2 Wanderlied
Baritone Vocals – Friedrich Schorr
C3 Du Bist Wie Eine Blume (Myrthen)
Baritone Vocals – Friedrich Schorr
C4 An Den Sonnenschein
Soprano Vocals – Ursula van Diemen
C5 Volksliedchen
Soprano Vocals – Ursula van Diemen
C6 Unterm Fenster / English
Soprano Vocals – Lucrezia BoriTenor Vocals – John McCormack (2)
C7 So Wahr Die Sonne Scheinet
Soprano Vocals – Jo VincentTenor Vocals – Louis van Tulder
C8 Die Beiden Grenadiere
Baritone Vocals – Sir George Henschel
C9 Lied Eines Schmiedes
Baritone Vocals – Sir George Henschel
C10 In Der Fremde (Liederkreis Op.39) / French
Contralto Vocals – Alice Raveau
C11 Aus Den Östlichen Rosen (Myrthen)
Tenor Vocals – Richard Tauber
C12 Ich Will Meine Seele Tauchen (Dichterliebe)
Baritone Vocals – Thom Denijs
C13 Im Rhein, Im Heiligen Strome (Dichterliebe)
Baritone Vocals – Thom Denijs
D1 Zum Schluss (Myrthen)
Mezzo-soprano Vocals – Elena Gerhardt
D2 Frühlingsnacht (Liederkreis, Op.39)
Mezzo-soprano Vocals – Elena Gerhardt
D3 Wer Machte Dich So Krank?
Mezzo-soprano Vocals – Elena Gerhardt
D4 Alte Laute
Mezzo-soprano Vocals – Elena Gerhardt
D5 Der Nussbaum (Myrthen) / French
Baritone Vocals – Charles Panzéra
D6 In Der Fremde (Liederkreis Op.39)
Baritone Vocals – Charles Panzéra
D7 An Den Sonnenschein
Soprano Vocals – Lotte Lehmann
D8 Marienwürmchen
Soprano Vocals – Elisabeth Schumann
D9 Die Beiden Grenadiere
Baritone Vocals – Herbert Janssen (2)
D10 Mondnacht (Liederkreis Op.39)
Soprano Vocals – Elisabeth Schumann
D11 Er Ist's
Soprano Vocals – Elisabeth Schumann
D12 O Ihr Herren
Soprano Vocals – Elisabeth Schumann
D13 Röselein, Röselein
Soprano Vocals – Elisabeth Schumann
D14 Loreley
Soprano Vocals – Elisabeth Schumann
D15 Ständchen
Soprano Vocals – Elisabeth Schumann
E1 Wer Machte Dich So Krank?
Tenor Vocals – Karl Erb
E2 Alte Laute
Tenor Vocals – Karl Erb
E3 Mondnacht (Liederkreis Op.39)
Tenor Vocals – Karl Erb
E4 Was Soll Ich Sagen?
Tenor Vocals – Karl Erb
E5 Schöne Fremde (Liederkreis Op.39)
Soprano Vocals – Ria Ginster
E6 In Der Fremde (Liederkreis Op.39)
Soprano Vocals – Ria Ginster
E7 Geisternähe
Soprano Vocals – Ria Ginster
E8 An Den Sonnenschein
Soprano Vocals – Ria Ginster
E9 Fürhlingsnacht (Liederkreis, Op.39)
Baritone Vocals – Willy Domgraf-Fassbaender*
E10 Die Lotosblume (Myrthen)
Mezzo-soprano Vocals – Susan Metcalfe-Casals
E11 Schneeglöckchen
Mezzo-soprano Vocals – Susan Metcalfe-Casals
E12 Zum Schluss (Myrthen)
Mezzo-soprano Vocals – Susan Metcalfe-Casals
E13 Herzeleid
Mezzo-soprano Vocals – Susan Metcalfe-Casals
E14 Liebeslied
Mezzo-soprano Vocals – Susan Metcalfe-Casals
F1 Dichterliebe (complete)
Tenor Vocals – Aksel Schiotz*
G1 Dein Angesicht
Tenor Vocals – Aksel Schiotz*
G2 Du Bist Wie Eine Blume (Myrthen)
Tenor Vocals – Aksel Schiotz*
G3 Romanze (Flutenreicher Ebro)
Tenor Vocals – Aksel Schiotz*
G4 Mein Rose
Soprano Vocals – Frida Leider
G5 Widmung (Myrthen)
Soprano Vocals – Frida Leider
G6 Frühlingsfahrt
Baritone Vocals – Hans Hermann Nissen
G7 Erstes Grün
Soprano Vocals – Flora Nielsen*
G8 Requiem
Soprano Vocals – Flora Nielsen*
G9 Mondnacht (Liederkreis Op.39)
Baritone Vocals – Hans Hotter
H1 Meine Rose
Baritone Vocals – Karl Schmitt-Walter
H2 Widmung (Myrthen)
Baritone Vocals – Karl Schmitt-Walter
H3 Die Kartenlegerin
Contralto Vocals – Elisabeth Höngen
H4 Dein Angesicht
Baritone Vocals – Pierre Bernac
H5 Aufträge
Soprano Vocals – Elisabeth Schwarzkopf
H6 Die Lotosblume (Myrthen)
Baritone Guitar – Dietrich Fischer-Dieskau
H7 Die Beiden Grenadiere
Baritone Guitar – Dietrich Fischer-Dieskau
H8 Der Nussbaum (Myrthen)
Soprano Vocals – Victoria De Los Angeles
I1 Feldeinsamkeit
Tenor Vocals – Gustav Walter
I2 Der Schmied
Contralto Vocals – Edyth Walker
I3 Minnelied
Baritone Vocals – Leopold Demuth
I4 Botschaft
Tenor Vocals – Erik Schmedes
I5 Wiegenlied
Soprano Vocals – Laura Hilgermann
I6 Ein Wanderer
Tenor Vocals – Franz Naval
I7 Liebestreu / Russian
Bass Vocals – Vladimir Kastorsky*
I8 Die Sonne Scheint Nicht Mehr (Deutsche Volkslieder, Book I)
Soprano Vocals – Elisabeth Ohlhoff
I9 Sapphische Ode
Bass Vocals – Anton Sistermans
I10 Da Unten Im Tale (Deutsche Volkslieder, Book I)
Soprano Vocals – Susanne Dessoir
I11 Ach, Englische Schäferin (Deutsche Volkslieder, Book II)
Soprano Vocals – Susanne Dessoir
I12 O Liebliche Wangen
Mezzo-soprano Vocals – Elena Gerhardt
I13 Vor Dem Fenster
Mezzo-soprano Vocals – Elena Gerhardt
J1 Immer Leiser Wird Mein Schlummer
Mezzo-soprano Vocals – Elena Gerhardt
J2 Feinsliebchen (Deutsche Volkslieder, Book II)
Mezzo-soprano Vocals – Elena Gerhardt
J3 Erlaube Mir, Feins Mädchen (Deutsche Volkslieder, Book I)
Mezzo-soprano Vocals – Elena Gerhardt
J4 Wie Komm' Ich Denn (Deutsche Volkslieder, Book V)
Mezzo-soprano Vocals – Elena Gerhardt
J5 Mein Mädel Hat Einen Rosenmund (Deutsche Volkslieder, Book IV)
Mezzo-soprano Vocals – Elena Gerhardt
J6 Der Gang Zum Liebchen
Mezzo-soprano Vocals – Elena Gerhardt
J7 Therese
Mezzo-soprano Vocals – Elena Gerhardt
J8 Der Tod, Das Ist Die Kühle Nacht
Mezzo-soprano Vocals – Elena Gerhardt
J9 Sapphische Ode / Russian
Bass Vocals – Feodor Chaliapin
J10 In Waldeseinsamkeit
Tenor Vocals – John McCormack (2)
J11 Komm' Bald
Tenor Vocals – John McCormack (2)
J12 Wie Melodien Zieht Es
Soprano Vocals – Lotte Schöne
J13 Das Mädchen Spricht
Soprano Vocals – Lotte Schöne
K1 Sapphische Ode
Contralto Vocals – Louise Kirky Lunn
K2 Alte Liebe / Italian
Soprano Vocals – Hina Spani
K3 Geistliches Wiegenlied
Contralto Vocals – Maria von Basilides
K4 Sandmännchen (Volkskinderlied)
Soprano Vocals – Selma Kurz
K5 Ein Wanderer
Contralto Vocals – Karin Branzell
K6 Die Mainacht
Contralto Vocals – Marian Anderson
K7 Von Ewiger Liebe
Soprano Vocals – Lotte Lehmann
K8 Immer Leiser Wird Mein Schlummer
Soprano Vocals – Dusolina Giannini
L1 Ruhe, Süssliebchen
Contralto Vocals – Sigrid Onegin
L2 Heimweh II (Oh Wüsst Ich Doch) / English
Tenor Vocals – Richard Tauber
L3 Am Sonntag Morgen
Soprano Vocals – Irène Joachim
L4 Wie Bist Du, Meine Königin
Baritone Vocals – Gerhard Hüsch
L5 Feldeinsamkeit
Baritone Vocals – Gerhard Hüsch
L6 Immer Leiser Wird Mein Schlummer
Contralto Vocals – Sabine Kalter
L7 Treue Liebe
Soprano Vocals – Ria Ginster
L8 Botschaft
Soprano Vocals – Ria Ginster
L9 Klänge II
Mezzo-soprano Vocals – Nathalie KedroffSoprano Vocals – Irène Kedroff
L10 Die Meere
Mezzo-soprano Vocals – Nathalie KedroffSoprano Vocals – Irène Kedroff
M1 Lerchengesang
Tenor Vocals – Karl Erb
M2 Heimweh II (Oh Wüsst Ich Doch)
Tenor Vocals – Karl Erb
M3 O Kühler Wald
Tenor Vocals – Karl Erb
M4 Nachtigall
Soprano Vocals – Elisabeth Schumann
M5 Der Jäger
Soprano Vocals – Elisabeth Schumann
M6 Der Tod, Das Ist Die Kühle Nacht
Soprano Vocals – Elisabeth Schumann
M7 An Eine Aeolsharfe
Soprano Vocals – Elisabeth Schumann
M8 Bitteres Zu Sagen
Soprano Vocals – Elisabeth Schumann
M9 Blinde Kuh
Soprano Vocals – Elisabeth Schumann
M10 Schwesterlein (Deutsche Volkslieder, Book III)
Soprano Vocals – Elisabeth Schumann
M11 In Stiller Nacht (Deutsche Volkslieder, Book VI)
Soprano Vocals – Elisabeth Schumann
M12 Vergebliches Ständchen
Soprano Vocals – Elisabeth Schumann
N1 Der Schmied
Soprano Vocals – Marta Fuchs
N2 Liebestreu
Soprano Vocals – Marta Fuchs
N3 Das Mädchen Spricht
Soprano Vocals – Marta Fuchs
N4 Immer Leiser Wird Mein Schlummer
Soprano Vocals – Marta Fuchs
N5 Erinnerung
Bass Vocals – Alexander Kipnis
N6 Ein Sonett
Bass Vocals – Alexander Kipnis
N7 Verrat
Bass Vocals – Alexander Kipnis
N8 An Die Nachtigall
Soprano Vocals – Adelheid Armhold
N9 Feldeinsamkeit
Soprano Vocals – Maria Müller
N10 Spanisches Lied (In Dem Schatten Meiner Locken)
Soprano Vocals – Magarete Klose
O1 Wenn Ich Mit Menschen (Vier Ernste Gesänge)
Contralto Vocals – Emmi Leisner
O2 Nicht Mehr Zu Dir Zu Gehen
Baritone Vocals – Herbert Janssen (2)
O3 Minnelied
Baritone Vocals – Herbert Janssen (2)
O4 Auf Dem Kirchhofe
Baritone Vocals – Herbert Janssen (2)
O5 Junge Lieder I (Meine Liebe Ist Grün)
Soprano Vocals – Kirsten Flagstad
O6 Gestillte Sehnsucht
Soprano Vocals – Kirsten Flagstad
O7 Wir Wandelten
Tenor Vocals – Aksel Schiotz*
O8 Ständchen
Tenor Vocals – Aksel Schiotz*
O9 Sonntag
Tenor Vocals – Aksel Schiotz*
O10 Wiegenlied
Soprano Vocals – Irmgard Seefried
P1 Die Mainacht
Baritone Vocals – Karl Schmitt-Walter
P2 Och Mod'r, Ich Well En Ding Han (Deutsche Volkslieder, Book V)
Soprano Vocals – Elisabeth Schwarzkopf
P3 Vergebliches Ständchen
Soprano Vocals – Elisabeth Schwarzkopf
P4 Mit Vierzig Jahren
Baritone Vocals – Hans Hotter
P5 Doch Es Gehet Dem Menschen (Vier Ernste Gesänge)
Baritone Vocals – Hans Hotter
P6 Von Ewiger Liebe
Soprano Vocals – Victoria De Los Angeles
P7 Liebeslieder Walzer (Nos. 6,9,16,17,18)
Baritone Vocals – Hans HotterContralto Vocals – Elisabeth HöngenSoprano Vocals – Irmgard SeefriedTenor Vocals – Hugo Meyer-Welfing
www.discogs.com/release/9685135-Mozart-Richard-Strauss-Ka...
Staatsoper Orch. Berlin, Conductor: Richard Strauss, Mechanical Recording - Stereo Recording: Berliner Phil., Bohm, DGG 70 Sound Years 1968