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Composer: Gian Carlo Menotti
Vinyl LP (1952)
Label: RCA Victor Red Seal
Catalog No.: LM 1701
Monophonic
out-of-print
Number of Discs: 1
▶ On YouTube: here.
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▶ RECORDING
☞ Side 1
1. Part 1 (20:39)
☞ Side 2
1. (2) Part 2 (25:50)
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▶ CAST
Amahl – Chet Allen (soprano)
His Mother – Rosemary Kuhlman (mezzo-soprano)
Kaspar – Andrew McKinley (tenor)
Melchior – David Aiken (baritone)
Balthazar – Leon Lishner (baritone)
The Page – Francis Monachino
Conductor – Thomas Schippers
NBC Opera Theatre Orchestra and Chorus
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▶ "Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed on December 24, 1951, in New York City, at NBC studio 8H in Radio City Music Hall, where it was broadcast live on television as the debut production of the Hallmark Hall of Fame. It was the first opera specifically composed for television in America."
— Discogs.
***************
▶ MORE IMAGES
☞ Album cover: here.
☞ Inner sleeve: here.
☞ Booklet (front): here.
☞ Cast members: here.
☞ Gian Carlo Menotti (composer): here.
☞ Image from television broadcast (1): here.
☞ Image from television broadcast (2): here.
☞ Image from television broadcast (3): here.
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
▶ Commercial use requires explicit permission, as per Creative Commons.
www.discogs.com/Various-Nu-Electro-Volume-2/release/1996093 CD
www.discogs.com/Various-Nu-Electro-Volume-2/release/2026382 VINYL
NU ELECTRO VOL 2 CD/VINYL.
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www.discogs.com/Various-Nu-Electro-Volume-3/release/2426950 CD
www.discogs.com/Various-Nu-Electro-Volume-3/release/2440375 VINYL
NU ELECTRO VOL 3 CD/VINYL.
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"excellent" -freestyle0king
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www.discogs.com/Michael-Schneider-Orgelkonzert-In-Amorbac...
Praeludium & Fuge BWV532, Toccata, Organ Concerto No.10 op.7, Adagio & Allegro KV594
www.discogs.com/Wolfgang-Amadeus-Mozart-Konzert-F%C3%BCr-.... 1 of 3 copies
Mozart - Piano Concerto No.21 KV467 & No.26 KV537 - Jorg Demus Piano, Wiener Staatsoper Orch., Milan Horvat, Westminster Silber Serie PWN 308
www.discogs.com/Beethoven-Liszt-Richard-And-John-Contigug.... Beethoven-Liszt - Symphony No.9 - Concert transcription for 2 Pianos, 4 hands by Franz Liszt & Liszt - Festival Cantata: Hommage to Beethoven's Archduke Trio - Transcription for 1 Piano, 4 Hands - Richard & John Contiguglia Piano, Connaisseur Society CSQ 2052 QUADRO
Rare Record. Private record, was not for sale
No Backside.
www.discogs.com/Strauss-Astrid-Varnay-Martha-M%C3%B6ll-Hi...
Richard Strauss - Elektra - Astrid Varnay, Martha Modl, Hildegard Hillebrecht, James King, Eberhard Wachter, Tugomir Franc, Hildegard Rotgers, Anja von Urooman, Siegfried Rudolf Frese, Judith Hellwing, Helen Watts, Margarethe Sjostedt, Cvetka Ahlin, Lisa Otto, Lucia Popp, Wiener Phil., Karajan, Salzburg 11-8-1964, Estro Armonico Rare Opera Editions EA 044. Review:
Revelatory
I can't see that there is any need for wringing our hands over the fact that Karajan never took Elektra into the recording studio. This live event from Salzburg in 1964 rests easily at the top of the Elektra recordings as far as I'm concerned.
At first glance the leading ladies, if Elektra and Klytämnestra can be called ladies, strike us as being a little super-annuated for such an assignment. As usual, however, Karajan knew what he was doing when he cast the two great Brünnhildes from Bayreuth in the 1950s as the two powerful leads in this amazing performance. Astrid Varnay had been singing Elektra for at least 12 years and Martha Mödl, who had by 1964 changed to the mezzo-soprano roles, was nearing the end of her viable recording career, in opera, but does not sound wobbly AT ALL in this recording, and sings with her usual volcanic dramatic intensity.
Elektra is basically a story of a crazy mother and her two crazy daughters, one of whom is set on avenging the death of her father who has been murdered by the crazy mother and her effeminate lover. Then the prodigal brother returns from a long exile to find the household in disarray to say the least, and proceeds to murder the crazy mother and her lover. The eldest daughter then dances herself to death in the front yard. An ancient Greek tragedy that could easily appear on the front pages of the National Enquirer and not raise a single eyebrow these days.
It may seem tawdry but it is profoundly tragic as Sophocles and Richard Strauss saw it. Herbert von Karajan got it as well, and turns in what may be, arguably, his very greatest recorded performance of anything. I've been listening to this opera for over 40 years, starting with the famous Solti/Nilsson on Decca, then Böhm/Borkh on DG, Mitropoulos/Borkh on Orfeo also from Salzburg like Karajan's, and finally the splendid Sinopoli/Marc version, perhaps the most gorgeously vocalized leading role of the entire bunch. All of these conductors are superb but none of them brings out so many hitherto unheard details and melodic lines that have previously lane buried, even dormant in the over-all noise of the thing in other hands.
Karajan sees Elektra first and foremost as a very beautifully melodic Strauss opera. The many dissonances are all the more shocking and destabilizing for being surrounded by such lush melodic beauty. The Vienna Philharmonic is unbeatable in its virtuosity here. Karajan takes the opening scene with the maids at quite a fast clip, it sounds crazy.
Then Varnay appears and my mind instantly pictured this mad woman lurking in the black shadows amongst chipped and sinister columns. She is riveting from start to finish. The voice was never what could be called beautiful but it was powerful and steady, if a bit like a shriek from time to time on some of the high notes, but those moments are apt for the part. Mödl, like Varnay, responds acutely to Karajan's direction and turns in a performance that unrolls vividly in the mind's eye as well as the ear. The real surprise here is the splendid Chrysothemis from Hildegard Hillebrecht. I had only heard this relatively unheralded singer as Böhm's Ariadne. There she sounded like a cow in parturition and really rather ruined that otherwise excellently sung performance. So it was a real delight to hear her singing out with a huge golden tone and acting as if her life depended on it.
So all three of the female leads are in the very top league in their respective roles. The excellent maids include some greats from the 1960s including Lucia Popp and Helen Watts.
This Karajan Elektra is now my desert island recording of Elektra, edging out the long-time champ in this opera, Mitropoulos. Review no.2: ld on to Your Seat!
In her delightful autobiography, "55 Years in Five Acts", Astrid Varnay devotes an entire chapter to this production at the 1964 Salzburg Festival, and once you listen to the recording, you'll understand why. It was also the occassion of the mending of a longstanding rift between Varnay and conductor Herbert von Karajan. After the revived run the following year with the same cast, von Karajan let it be known that he felt that this production represented such an apex of quality in his artistic career that he never intended to conduct the opera again. And he never did.
All of the roles are incredibly performed. Martha Modl, a great Wagnerian dramatic soprano, brings a searing intensity to the role of Klytamnestra. (Modl started as a mezzo, and in her mid 50s when she sang this production, had returned to mezzo roles.) The other leads, Hildegard Hillebrecht as Chrysothemis, Eberhard Waechter as Orest, and the great American tenor James King as Aegisth all do more than justice to their roles.
But Astrid Varnay, one of the great singing actresses of post World War II opera, simply tears up the stage. Elektra is an incredibly intense role, and Ms. Varnay, of whom it was once said could dominate a stage just by sitting still, brings all of her ferocious talent to bear. Interestingly enough, some years later, when her top notes had gone, Varnay reinvented herself as a character mezzo, and among her top roles was Klytamnestra. But back in 1964 she still had all her vocal gifts, as well as her formidable acting talent and 23 years experience onstage. And it shows in her riveting performance of the title role.
And don't forget von Karajan conducting the Vienna Philharmonic. They play with a power and intensity that matches the level of the singing. A digitally remastered monaural recording, (why wasn't it done in stereo?), the sound quality is excellent for this live recording. Review no.3: Elektrifying from the first bar to the last
How fortunate we are that one recording of Elektra with von Karajan on the podium has surfaced! The conductor himself vowed never to do this opera in the recording studio due to the emotional drain he experienced after each performance. This recording proves why!
Karajan in my opinion, is the perfect Strauss conductor after Karl Bohm. His Rosenkavalier, Ariadne auf Naxos, and Salome are simply stunning, and one would wish that he took Frau Ohne Schatten to the studio. His tone poem recordings bring out the lushness and richness in Strauss' score without mixing up the instruments in a cacophonic way that other Strauss conductors usually do. In this Salzburg Festival performance, he not only brings the dementia of Elektra in a most transparent and clear manner. He also brings out the lushness of the score without tangling the orchestra. It is both thrilling and touching, and if it is not as visceral as Solti's amazing Elektra with Birgit Nilsson, it is perhaps the most civilized. I consider it to be the best conducted Elektra ever, albeit the few cuts made in this and that portion of the score.
If Karajan was thought by others to be inadequate in terms of vocal choice, I think they should look at the cast in this performance. The Elektra is none other than Astrid Varnay. With the dark hue of her voice and her extremely precise musicianship, one could say that she is the perfect Elektra. She conveys the entire emotional palette that makes this role so difficult--the sorrow, the madness, the anger, the sadist, the sexual, and the thrill of course, that makes this role such a vocal killer. Amazingly, she hits all the notes dead on. Her Elektra may have been recorded earlier, but nowhere is it better heard than in this recording.
Her Klytamnestra is Martha Modl, one of the greatest dramatic/ character sopranos of the golden age of Wagner. She makes her Klytamnestra not only noble and sorrowful, but looney to an extent as well. It is a most compelling performance. Orest is sung by Eberhard Waechter, a perfect complement to Varnay's Elektra. The only member of this cast that does not seem to set the stage on fire is Hildegard Hillebrecht as Chrysothemis, but that does not matter if you have such an amazing cast. Review no.4: Finally a good recording of this great Karajan Elektra
Herbert von Karajan's 1964 Salzburg Elektra has seen several incarnations on disc. I myself own a MELODRAM recording of the August 11 performance, recording which was pretty abysmal: thin and muffled sound, bad balance between orchestra and singers, etc.
This release, of the August 17 performance, is quite a different matter. The sound is clear, the balance between singers and orchestra is appropriate, and one is finally able to hear Karajan's fine orchestral work. There is almost no audience noise, and very little interference from stage noise. For a live recording from 1964, it's more than fine.
Karajan's relationship with this opera was strange. Apparently he loved it a lot, he just couldn't stand the emotional strain of conducting it, and he performed it once in his early conducting days, and then this once in Salzburg, in 1964 and 1965. Never in a studio, which is a shame. I would love to have heard him do it with the Berlin Philharmonic. So this particular document is of prime interest.
First, the caveats. If one compares Karajan to Solti, or Boehm, some of Karajan's tempi are somewhat broader (but only some), and his handling of the orchestra a little more careful (especially to help the singers). Savage a little more sparingly than Solti, attentive always. Varnay was just slightly past her prime in 1964, and her top notes are sometimes thin and strained. She reaches them fine, though, and like Nilsson seems to be made not of flesh but of steel. Moedl was also no spring chicken (vocally) at this point. More on her later. This is not a cast of young leads, but of seasoned pros. And fantastic pros, too.
Now for the positive.
Despite her vocal age, Varnay sings a great Elektra here. Like Nilsson, she is capable of exercising uncanny control over her huge, huge instrument. God, she can pierce an orchestra and fill a hall, but in her recognition scene she sounds tender and lovely, and her pianissimi are exquisite. I never particularly loved her voice (there was something "cold" about it, a feeling I often had about Flagstad too), but she can certainly sing, and all her notes except perhaps one are sure, steady, and perfectly pitched. Heroic to say the least (I don't know if Elektra is the most difficult role for a Wagnerian/Straussian soprano, but it must be up there in the top three). A herculean Elektra. There is one difference compared to Nilsson: with Nilsson, you never heard the effort.
Martha Moedl was nothing if not problematic, even in her prime years as a "Heldensopran" (1950-1953). Her attacks were uncouth, her high notes often shrill, her vibrato erratic. She was intensely dramatic, intensely sensitive, and intensely musical, and always interesting, but her voice was all over the place. She was unpredictable. Then, when she "lost" her voice (more or less) in the late 1950s and reverted to mezzo, she ended up with a dangerous wobble and no high notes (even for a mezzo). In this particular production of Elektra, somehow her wobble has disappeared, or is minimal (compared to her Nurse in the previous year's Frau ohne Schatten from Munich conducted by Keilberth). She is sharp and dramatic, and not bothersome at all. Actually, she gives a very fine performance. Her last high note at the end of her dialogue with Elektra is just awful, but she manages to get up there, and everything else up to that point is quite good, or better, and she acts the hell out of the part. One can understand every word she says, and her singing is careful, elegant and precise, often beautiful. A real pro.
Hillebrecht as Elektra's sappy sister gets a bad reputation, but I found her singing quite good. She sounds like a fine Straussian singer in, it must be said, a rather tough, thankless role. Karajan's original choice for the role was Rysanek, who apparently backed out. Eberhard Waechter is fine as Orest, and the fifth maid is Lucia Popp!
This recording allows us to finally hear Karajan's Wiener Philharmoniker in the performance, and they do a fantastic job. In the Melodram release, the orchestra sounded distant and muffled, and most detail was lost. Here, one can really hear their work. As usual with the best Karajan (most often in live performances of opera), he manages to be both energetic and exquisite in his handling of the orchestra: there is a lot of wonderful orchestral detail I personally had never heard before, there is extremely careful attention to every nuance of the score, and YET Karajan manages to accompany the drama with the appropriate pace and energy. There is love but also fire in his performance. Some of that energy sometimes (not always) disappeared when he went into the recording studios (as proof of that, please compare Karajan's live Nozze di Figaro from 1974, released by Opera d'oro, with his bloodless studio performance from 1979 with almost the same cast). I mentioned before that some of his tempi are a little broad in this Elektra. Please don't misunderstand me. I don't mean bloodless, or boring. But I personally grew up with Solti's Elektra with Nilsson and Resnik, so I still have a tendency to mentally compare any new recording I hear to that one. In that respect, yes, Karajan's Elektra is sometimes a bit slower. But he is far from dead in the water. The performance works, and works gangbusters. This recording may well become a new reference point for me, alongside the Solti, the Boehm, and the early Mitropoulos from Florence.
www.discogs.com/Beethoven-5e-Pianoconcert-In-Es-Op-73/rel.... Gramophone Review:
Frantisek Rauch is not a pianist I had heard of before, but I was certainly impressed, and on a bargain label with presentably full and clear recording (marred by a couple of tiny pitch variations in the finale) it is a fair recommendation for anyone's money. In places indeed it sounded as though Rauch was himself limbering up to do a Van Cliburn. The opening flourish has splendid fire, though Rauch has a strange reading for the descending quavers marked 'espressivo' in my score. He detaches them all. The main allegro is very fast, but Rauch is always splendidly clear and rhythmic. His main weakness is that his range of tone-colour is limited. Like Van Cliburn, Rauch is detached and extrovert in the slow movement, and rather duller. In the finale the main theme sounds comparatively unclear after Van Cliburn, but the first episode is phrased exquisitely with an infectious lilt. The liveliness throughout is helped by the work of the conductor and orchestra. There is no more clearly recommendable bargain Emperor at the moment, unless you are prepared to put up with indifferent recording.
www.discogs.com/Liszt-Jacqueline-Lafayette-Boston-Nationa.... Special Record:
A different kind of "surprise record" is PHOENIX X 9050, offering both Liszt concertos. According to the label the 1st concerto is played by Sergio Fiorentino and the Hamburg Pro Musica Orchestra under Erich Riede. This would be quite in order were it not for the grooves to tell the listener a different story: without doubt we can hear the 1950 performance of the piece with Emil Gilels under Kondrashin's baton! The matrix number of this record is FDY 2031A/B so it is almost certain that the record FIDELITY FDY 2031 also has the Gilels version on side A. The reverse side of the PHOENIX record with Liszt's 2nd concerto, played by "Laszlo Zemlitz" and the "Carinthian Philharmonic Orchestra" under "Franz Meisdorf" is in fact the performance by Julius Katchen and the London, Philharmonic Orchestra under Ataulfo Argenta! This identification applies also for the reverse side of Classics Club X 1011. An interesting case is A.R.C. FDY 2021 from 1963, a record which exists again in two versions, one naming Sergio Fiorentino and the Hamburg Pro Musica under George Hurst, the other one "Paul Procopolis" and the "Leipzig Pro Arte Orchestra" under "Gorg Ramifski". The sleeves are differently designed, the matrix numbers are the same. Both versions, however, contain a performance of Tchaikovsky's 1st piano concerto, played by Sondra Bianca, piano., and the Hamburg Symphony Orchestra conducted by Hans Jürgen Walther.
www.reocities.com/elumpe1/SFDiscography.html
E.A. Lumpe 2008
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www.discogs.com/W-A-Mozart-I-Seefried-W-Lipp-A-Dermota-E-.... Mozart - Die Zauberflote - Ludwig Weber, Anton Dermota, Wilma Lipp, Irmgard Seefried, Erich Kunz, Emmy Loose, George London, Peter Klein, Sena Jurinac, Friedl Rieger, Else Schurhoff, Erich Majkut, Harald Proglhof, Hermine Steinmassl, Eleonore Dorpinghans, Annelies Stuckl - Singverein Musikfreunde Wien, Wiener Phil., Karajan, EMI Electrola 1C 147-01 663/65, Box 3Lp, 1950
www.discogs.com/Bach-Lorin-Maazel-Brandenburg-Concertos-/.... Bach - 6 Brandenburg Concertos - Herbert Naumann, Siegfried Gahlbeck, Werner Haupt, Egon Melziarek, Wolfgang Meyer, Roger Bourdin, Koji Toyoda, Leonard Hokanson, Michel Debost, Maurice Andre, Karl-Bernhard Sebon, Gunther Passin, Felix Schroder, Kurt Blank, Rolf-Julius Koch, Frithjof Fest, Hans Lemke - RSO Berlin, Lorin Maazel
Ave Maris - Cheryl Studer, LSO, Ion Marin, DGG 435 387-2
www.discogs.com/Cheryl-Studer-London-Symphony-Orchestra-I...
www.discogs.com/Various-The-Classic-Christmas-Album/relea...
1 –Bernhard*, Hannes*, Wolfgang Läubin, Norbert Schmitt, Simon Preston Sinfonies De Fanfare: Rondeau
Composed By – Jean-Joseph MouretOrgan – Simon PrestonTimpani – Norbert SchmittTrumpet – Bernhard*, Hannes*, Wolfgang Läubin
2 –Luciano Pavarotti, National Philharmonic Orchestra • K. H. Adler* O Holy Night (Minuit Chrétien)
Arranged By – Douglas GamleyComposed By – Adolphe Adam*Conductor – Kurt Herbert AdlerOrchestra – National Philharmonic OrchestraTenor Vocals – Luciano Pavarotti
3 –Berliner Philharmoniker • Herbert von Karajan March From/Aus/Extrait De/Da/De: The Nutcracker • Der Nußknacker • Casse-Noisette • Lo Schiaccianoci • Cascanueces Op. 71a
Composed By – Peter Ilych Tchaikovsky*Conductor – Herbert Von KarajanOrchestra – Berliner Philharmoniker
4 –Wiener Sängerknaben* O Tannenbaum • O Christmas Tree • Mon Beau Sapin
Arranged By – Uwe Christian HarrerChoir – Wiener Sängerknaben*Composed By – TraditionalConductor – Uwe Christian Harrer
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Composed By – Wolfgang Amadeus MozartConductor – Claudio AbbadoOrchestra – Wiener Philharmoniker
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Composed By – Jules MassenetConductor – James Levine*Orchestra – Wiener PhilharmonikerViolin – Anne-Sophie Mutter
10 –José Carreras • Coral Salvé De Laredo • Sociedad Coral Debilbao • Damián Sanchez* El Nacimiento (Vidala Catamarqueña) • The Nativity • Christi Geburt • La Nativitée • La Natività, From Navidad Nuestra (Félix Luna)
Arranged By – J. Gabriel Segade*Arranged By [Revised Arrangement By], Conductor – Damián Sanchez*Choir – Coral Salvé De Laredo, Sociedad Coral DebilbaoComposed By – Ariel RamirezTenor Vocals – José Carreras
11 –Bernhard*, Hannes*, Wolfgang Läubin, Norbert Schmitt, Simon Preston See, The Conquering Hero Comes
Composed By – George Frideric Handel*Organ – Simon PrestonTimpani – Norbert SchmittTrumpet – Benhard*, Hannes*, Wolfgang Läubin
12 –The Monteverdi Choir • The English Baroque Soloists • John Eliot Gardiner Jesus Bleibet Meine Freude (Jesy, Joy Of Man's Desiring) Chorale From Cantata BWV 147
Choir – The English Baroque Soloists, The Monteverdi ChoirComposed By – Johann Sebastian BachConductor – John Eliot Gardiner
13 –Kathleen Battle • Philharmonia Orchestra • Carlo Maria Giulini Pie Jesu From Requiem
Composed By – Gabriel FauréConductor – Carlo Maria GiuliniOrchestra – Philharmonia OrchestraSoprano Vocals – Kathleen Battle
14 –Berliner Philharmoniker • Herbert Von Karajan Concerto Fatto Per La Notta Di Natale (Christmas Concerto • Weihnachtskonzert • Concerto Pour La Nuit De Noël • Concierto De Navidad, Op.6 No.8) - Adagio
Composed By – Arcangelo CorelliConductor – Herbert Von KarajanOrchestra – Berliner Philharmoniker
15 –Bryn Terfel • Malcolm Martineau Die Könige • The Three Kings • Les Rois Mages • I Re Magi • Los Reyes Magos.
Bass Vocals, Baritone Vocals – Bryn TerfelComposed By – Peter Cornelius*Piano – Malcolm Martineau
16 –Dresdner Kreuzchor Stille Nacht • Silent Night • Douce Nuit • Bianco Natal • Noche De Paz
Arranged By – Helge JungChoir – Dresdner KreuzchorComposed By – Franz Xavier Gruber*Conductor – Matthias Jung
17 –Kiri Te Kanawa • Choir Of St. Paul's Cathedral* • English Chamber Orchestra • Barry Rose Ave Maria Op.52/6 D 839
Arranged By – Thelma OwenChoir – Choir Of St. Paul's Cathedral*Chorus Master – Barry RoseComposed By – Franz SchubertConductor – Barry RoseHarp – Thelma OwenOrchestra – English Chamber OrchestraSoprano Vocals – Kiri Te Kanawa
18 –Martha Argerich, Nicolas Economou Danse Des Mirlitons • Dance Of The Reedpipes
Arranged By – Nicolas EconomouComposed By – Peter Ilych Tchaikovsky*Piano – Martha Argerich, Nicolas Economou
19 –Plácido Domingo* • London Symphony Orchestra* • Karl-Heinz Loges* Muñequite Linda (Magic Is The Moonlight)
Arranged By – Loges*Composed By – M. Grever*Conductor – Karl-Heinz Loges*Orchestra – London Symphony Orchestra*Tenor Vocals – Plácido Domingo*
20 –Jessye Norman, Daniel Barenboim, Wolfram Christ Geistliches Wiegenlied Op. 91/2
Composed By – Johannes BrahmsPiano – Daniel BarenboimSoprano Vocals – Jessye NormanViola – Wolfram Christ
21 –The English Concert Choir • The English Concert* • Trevor Pinnock Hallelujah From Messiah
Choir – The English Concert ChoirComposed By – George Frideric Handel*Conductor – Trevor PinnockOrchestra – The English Concert
Tori Amos – Little Earthquakes, EastWest 7567-82358-2, 1992
www.discogs.com/Tori-Amos-Little-Earthquakes/release/5360728
Dire Straits – On Every Street, Vertigo 510 500-2, 1991
www.discogs.com/Dire-Straits-On-Every-Street/release/508977
Louis Armstrong - Masters of Jazz, Media 7, 1997
www.discogs.com/Michel-Banabila-Sound-Years/release/94188...
www.discogs.com/Michel-Banabila-Sound-Years/release/9418885
NORMAN RECORDS staff review:
These are troubling times, or maybe it’s just because it’s the middle of the week, but fret not for Michel Banabila is here to bring the balm. This lovely guy has a background in producing scores for film, documentaries, theatre and video art. Banabila finds uses for discarded objects and makes tapestries with these along with his electronics, field recordings and shortwave radio bites. The results are greater than the sum of these parts though, of course. The sounds he makes are spectacularly gorgeous and immaculately crafted, so let’s get into it now...
The record opens with the wondrously twilit ‘Close To The Moon’, acoustic oriental instrumentation gently plucked from some mystical faraway place and picking its way through some serene Fripp / Eno type sound bedding. Hints of guitar bubble up amongst the most luscious synth pads and subtle recordings of birdsong, low in the mix. This all segues seamlessly into some Frahm-ish piano and found sounds, Bjorkian vocals flitting in and out. The piano weaves a lovely melody gently around eastern instrumentation, gradually speeding up together with backwards vocals to create a slightly disorienting effect, before warm droning ambience washes back in. It’s as good as having the most relaxing bubble bath. Exotic birdcalls drift back in, soft lulling vocals and heavenly harp all combine to seduce this tired writer. Delicious. Is it time for bed yet? **** (Jamie)
AMBIENTBLOG:
Sound Years is a compilation of previously released tracks (with the exception of the previously unreleased opening track Close To The Moon). All are hand-picked by Michel Banabila himself and mixed into two continuous tracks – one for each side of the vinyl album. The selection is taken from various projects: some of them from theatre works, some of the more recent experimental electronic music, an occasional live recording, and a selection of his collaboration works with Oene van Geel and Rutger Zuydervelt (Machinefabriek). The oldest tracks are taken from 2005’s Hilarious Expedition, the newest are from 2016. They are selected to create a continuous uninterrupted flow. The sound is immediately recognisable as Banabila‘s – especially in his trademark use of ‘alien vocal’ samples (like in E.T. and Vuka Vuka!). The set is a perfect demonstration of Banabila‘s mastership of creating moods and atmospheres. A soft, warm, comfortable selection that is slightly unnerving and ‘outerworldish’ at the same time. Sound Years can perhaps be seen as Banabila‘s companion to KLF’s ‘Chill Out’ album: a slow walk through quiet (yet alien) landscapes. Unknown, full of surprises, yet always vaguely familiar. (Peter van Cooten)
CHAIN D.L.K.:
“Sound Years” is a Michel Banabila sampler, segueing selected tracks from ten previous albums along with one new work into two gentle, chilled-out continuous pieces. This has the diversity and variation of a various artists chillout compilation, but impressively, it’s all the work of one man (and a couple of guest appearances).
Smoothness is the order of the day here. Gentle piano melodies, occasional plaintive guitar strums, and found sounds including the classics such as falling rain ambiences and tropical birds, blend with the mellowest flavours of electronica chill-out such as the deftly twisted and re-pitched vocal samples in “Earth Visitor”. Other sections are more pared-down, simple warm drones, deep vocal sustains and cultured resonance.
The second side opens with a slightly more cinematic bent- a real orchestra warming up alongside a virtual one, broad sci-fi choral pads and robotic noises have us floating outside a spaceship. The ambience gradually gets more down-to-earth, with plaintive violin lines (from guest Oene Van Geel I think) and micro-cut vocal snippets glitching away in “Radio Spelonk”.
While some of the elements are cliché, they are used tastefully in a way that freshens them up. Even the cockerel crowing sound, used to great effect by The Orb, makes an appearance. In fact The Orb is a comparison worth making; if you like either of The Orb’s most recent two albums, then you should absolutely check “Sound Years” out.
To someone unfamiliar with Banabila’s work, this is a seriously impressive and accomplished retrospective. A wide orchestral palette and some absolutely top-notch production, with a beautiful sense of space and an ability to shift subtly between warm and cold atmospheres, makes this an aural joy in its own right. The transitions are seamless and this absolutely stands up as its own work, without any of the unsatisfying incompleteness you sometimes get in compilations.
It’s released on Banabila’s own Tapu Records. Several of the original albums from which these tracks are sourced are legitimately available to download for free online, and this compilation will definitely make you want to peruse things further. (Stuart Bruce)
www.discogs.com/K%C3%A1lm%C3%A1n-Honthy-H-H%C3%A1zy-E-Zen.... Imre Kalman - Csardas Kiralyno (Csardas Princess) - Hazy Erzsebet, Korondi Gyorgy, Honthy Hanna, Ratonyi Robert, Zentai Anna, Feleki Kamill, Csakanyi Laszlo, Palocz Laszlo, Ferencz Laszlo, Hungaria RSO, Brody Tamas - Teljes Felvetel, Complete Recording, Qualiton LPX 16564-66
www.discogs.com/J-S-Bach-Lisa-Otto-Josef-Traxel-Dietrich-.... Bach - Kantate No.211 "Kaffee-Kantate", "Schweigt stille, plaudert nicht" & Kantate No.212 "Bauernkantate""Mer hahn en neue Oberkeet" - Lisa Otto, Josef Traxel, Dietrich Fischer-Dieskau, Karlheinz Zoller Flote, Irmgard Poppen Continuo-Cello, Heinz Friedrich Hartig Cembalo, Chor St.Hedwigs-Kathedrale Berlin, Berliner Phil., Karl Forster, 1960, EMI Electrola SME 80 618
www.discogs.com/Various-Das-Teuerste-Konzert-Der-Welt-Sti...
Hermann Prey Ein Mädchen Oder Weibchen
Baritone Vocals – Hermann Prey
Conductor – Horst Stein
Orchestra – Berliner Symphoniker
A2–Mirella Freni, Nicolai Ghiaurov Reich Mir Die Hand, Mein Leben
Bass Vocals – Nicolai Ghiaurov
Conductor – Otto Klemperer
Orchestra – New Philharmonia Orchestra London*
Soprano Vocals – Mirella Freni
A3–Edith Mathis Sagt, Holde Frauen
Conductor – Otmar Suitner
Orchestra – Staatskapelle Dresden
Soprano Vocals – Edith Mathis
A4–Fritz Wunderlich Nur Ihrem Frieden Weiht' Ich Mein Leben
Conductor – Hans Zanotelli
Orchestra – Berliner Symphoniker
Tenor Vocals – Fritz Wunderlich
A5–Anna Moffo Endlich Naht Sich Die Stunde - O Säume Nicht Länger
Conductor – Carlo Maria Giulini
Orchestra – Philharmonia Orchestra London*
Soprano Vocals – Anna Moffo
A6–Gottlob Frick In Diesen Heil'gen Hallen
Bass Vocals – Gottlob Frick
Conductor – Arthur Grüber
A7–Hilde Güden Hör Mein Flehn, O Gott Der Liebe
Conductor – Otmar Suitner
Orchestra – Staatskapelle Dresden
Soprano Vocals – Hilde Güden
B1–Richard Tauber Konstanze, Dich Wiederzusehen
Tenor Vocals – Richard Tauber
B2–Erna Berger, Elisabeth Grümmer Wenn Die Sanften Abendlüfte
Soprano Vocals – Elisabeth Grümmer, Erna Berger
B3–Willy Domgraf-Fassbaender*Will Der Herr Graf Ein Tänzchen Nun Wagen
Baritone Vocals – Willy Domgraf-Fassbaender*
Conductor – Fritz Busch
Orchestra – Orchester Der Festspiele Glyndebourne*
B4–Tiana Lemnitz, Gerhard Hüsch Bei Männern, Welche Liebe Fühlen
Baritone Vocals – Gerhard Hüsch
Conductor – Sir Thomas Beecham
Orchestra – Berliner Philharmoniker
Soprano Vocals – Tiana Lemnitz
B5–Anton Dermota Dies Bildnis Ist Bezaubernd Schön
Conductor – Herbert Von Karajan
Orchestra – Wiener Philharmoniker
Tenor Vocals – Anton Dermota
B6–Anneliese Rothenberger Ich Weiß Nicht, Wo Ich Bin, Was Ich Tue
Conductor – Wilhelm Schüchter
Orchestra – Berliner Philharmoniker
Soprano Vocals – Anneliese Rothenberger
B7–Joan Sutherland Du Kennst Den Verräter
Conductor – Carlo Maria Giulini
Orchestra – Philharmonia Orchestra London*
Soprano Vocals – Joan Sutherland
B8–Walter Berry Der Vogelfänger Bin Ich Ja
Bass Vocals – Walter Berry
Conductor – Wolfgang Sawallisch
Orchestra – Orchester Der Bayerischen Staatsoper München*
B9–Elisabeth Schwarzkopf, Christa Ludwig Ich Erwähle Mir Den Braunen
Conductor – Karl Böhm
Mezzo-soprano Vocals – Elisabeth Schwarzkopf
Orchestra – Philharmonia Orchestra London*
Soprano Vocals – Christa Ludwig
Italien - 20 Weltstars Im Lande Des Belcanto
C1–Maria Callas Frag' Ich Mein Beklomm'nes Herz
Composed By – Gioacchino Rossini
Conductor – Alceo Galliera
Orchestra – Philharmonia Orchestra London*
Soprano Vocals – Maria Callas
C2–Giuseppe Di Stefano Du, Die Schon Zum Himmel Eilet
Composed By – Gaetano Donizetti
Conductor – Tullio Serafin
Orchestra – Orchester Des Maggio Musicale Fiorentino*
Tenor Vocals – Giuseppe Di Stefano
C3–Mirella Freni, Nicolai Gedda O, Du Süßestes Mädchen
Baritone Vocals – Mario Sereni
Composed By – Giacomo Puccini
Conductor – Thomas Schippers
Orchestra – Orchestra Del Teatro Dell'Opera Di Roma
Soprano Vocals – Mirella Freni
Tenor Vocals – Nicolai Gedda
C4–Giulietta Simonato*, Franco Corelli In Unsere Heimat Kehren Wir Wieder
Choir – Coro Del Teatro Dell'Opera Di Roma
Composed By – Giuseppe Verdi
Conductor – Thomas Schippers
Mezzo-soprano Vocals – Giulietta Simonato*
Orchestra – Orchestra Del Teatro Dell'Opera Di Roma
Tenor Vocals – Franco Corelli
C5–Montserrat Caballe*, Placido DomingoIch Komm', Um Zu Erfleh'n Eine Gunst Der Königin
Composed By – Giuseppe Verdi
Conductor – Carlo Maria Giulini
Orchestra – Orchestra Of The Royal Opera House Covent Garden London*
Soprano Vocals – Montserrat Caballe*
Tenor Vocals – Placido Domingo
D1–Tito Gobbi ich Bin Das Faktotum Der Schönen Welt
Baritone Vocals – Tito Gobbi
Composed By – Gioacchino Rossini
Conductor – Alceo Galliera
Orchestra – Philharmonia Orchestra London*
D2–Miliza Korjus, Helge Rosvaenge*Liebe Ist Seligkeit
Composed By – Giuseppe Verdi
Soprano Vocals – Miliza Korjus
Tenor Vocals – Helge Rosvaenge*
D3–Erna Berger, Margarete Klose, Marcel Wittrisch, Willy Domgraf-Fassbaender*Holdes Mädchen, Sieh Mein Leiden
Alto Vocals – Margarete Klose
Baritone Vocals – Willy Domgraf-Fassbaender*
Composed By – Giuseppe Verdi
Soprano Vocals – Erna Berger
Tenor Vocals – Marcel Wittrisch
D4–Maria Cebotari ‘s st Seltsam - Er Ist Es - O Torheit - Von Der Freude Blumenkränzen
Composed By – Giuseppe Verdi
Conductor – Robert Heger
Orchestra – Staatskapelle Dresden
Soprano Vocals – Maria Cebotari
D5–Benjamino Gigli*Heimlich Aus Ihrem Auge Sich Eine Träne Stahl
Composed By – Gaetano Donizetti
Tenor Vocals – Benjamino Gigli*
D6–Maria Ivogün, Karl Erb Laß Es, Ach Laß Es Mich Hören
Composed By – Gaetano Donizetti
Soprano Vocals – Maria Ivogün
Tenor Vocals – Karl Erb
D7–Feodor Schaljapin*Ich, Der Geist, Der Stets Verneint
Bass Vocals – Feodor Schaljapin*
Composed By – Arrigo Boito
Conductor – Vincenzo Bellezza
Orchestra – Orchestra Of The Royal Opera House Covent Garden London*
Opern - Welterfolge Aus Deutschland
E1–Rudolf Schock Durch Die Wälder, Durch Die Augen
Composed By – Carl Maria Von Weber
Conductor – Joseph Keilberth
Orchestra – Berliner Philharmoniker
Tenor Vocals – Rudolf Schock
E2–Martha Mödl, Wolfgang Windgassen O Namenlose Freude
Composed By – Ludwig Van Beethoven
Conductor – Wilhelm Furtwängler
Orchestra – Wiener Philharmoniker
Soprano Vocals – Martha Mödl
Tenor Vocals – Wolfgang Windgassen
E3–Kurt Böhme Auch Ich War Ein Jüngling Mit Lockigem Haar
Bass Vocals – Kurt Böhme
Composed By – Albert Lortzing
Conductor – Fritz Lehan
Orchestra – Orchester Der Bayerischen Staatsoper München*
E4–Joseph Schmidt Ach, So Fromm
Composed By – Friedrich Von Flotow
Tenor Vocals – Joseph Schmidt
E5–Lauritz Melchior Allmächt'ger Vater, Blick Herab
Composed By – Richard Wagner
Conductor – Sir John Barbirolli
Orchestra – London Symphony Orchestra*
Tenor Vocals – Lauritz Melchior
E6–Lotte Lehmann Einsam In Trüben Tagen
Composed By – Richard Wagner
Conductor – Hermann Weigert
Soprano Vocals – Lotte Lehmann
F1–Peter Anders (2)In Fernem Land
Composed By – Richard Wagner
Conductor – Otto Ackermann
Orchestra – Südwestfunkorchester Baden-Baden*
Tenor Vocals – Peter Anders (2)
F2–Dietrich Fischer-Dieskau Wie Todesahnung, Dämm'rung Deckt Die Lande - O, Du Mein Holder Abendstern
Baritone Vocals – Dietrich Fischer-Dieskau
Composed By – Richard Wagner
Conductor – Franz Konwitschny
Orchestra – Orchester Der Staatsoper Berlin*
F3–Anja Silja, Theo Adam Wie Aus Der Ferne Längst Vergang'ner Zeiten
Baritone Vocals – Theo Adam
Composed By – Richard Wagner
Conductor – Otto Klemperer
Orchestra – New Philharmonia Orchestra London*
Soprano Vocals – Anja Silja
F4–Max Lorenz (2)Fanget An! So Rief Der Lenz In Den Wald
Composed By – Richard Wagner
Conductor – Clemens Schmalstich
Orchestra – Orchester Der Staatsoper Berlin*
Tenor Vocals – Max Lorenz (2)
F5–Anneliese Rothenberger, Lisa Della CasaIst Der Traum, Kann Nicht Wirklich Sein
Composed By – Richard Strauss
Conductor – Rudolf Neuhaus
Orchestra – Staatskapelle Dresden
Soprano Vocals – Anneliese Rothenberger, Lisa Della Casa
www.discogs.com/Tschaikowsky-BBC-Symphony-Orchestra-Genna.... Tchaikovsky - The Sleeping Beauty, Ballet in 3 Acts with Prologue op.66 Complete Recording - Bela Dekany Violin, Ross Pople Violoncello, David Butt Flute, John Anderson Oboe, , Colin Bradbury Clarinet, Sidonie Goossens Harpe, Marion Lea Piano, BBC SO, Rozhdestvensky, Ariola-Eurodisc 300 575-435, (Box 3Lp)
1 of 2 copies.
www.discogs.com/Claude-Debussy-Maurice-Ravel-Alban-Berg-K.... Debussy - Sonata Flute, Alto Violin, Harpe - Doriot Anthony Dwyer Flote, Burton Fine Altviool, Ann Hobson Harp & Ravel - Introduction & Allegro Harpe, Strings, Flute, Clarinet - Nicanor Zabaleta Harpe, Monique Frasca-Colombier Violin, Marguerite Vidal Violin, Anka Moraver Altviool, Hamisa Dor Violoncello, Christian Larde Flute, Guy Deplus Clarinette & Alban Berg - Lyrische Lyrical Suite for Strings 1926 - LaSalle Quartet - Walter Levin Violin, Henry Meyer Violin, Peter Kamnitzer Altviolin, Jack Kirstein Violoncello, Muziek onder Woorden DGG MOW 040-1, Raoul Dufy: Hommage a Claude Debussy