Program [Import]

Program [Import]

Track Listings

1. Introduction

2. Deeper

3. Sensuality (Vip Mix)

4. Making Nines

5. Lost (All Of That Dub)

6. Hardrockin'

7. Nightwatch

8. Battle Plate

9. Do U Dream (Exclusive Mix

10. Breakin' Up (Isb Mix)

11. Voodoo Bells

12. Teardrops ( Serious Dange

13. Battle Plate 2

14. High Noon (Isb Mix)

Editorial Reviews
Product Description
Mixed Album Highlighting the Distinctive Sound of this Speed Garage Pioneer.

Program,Serious Danger,Fresh Records,Dance

Beethoven: The Complete Piano Sonatas
Average customer rating:

Superb music - lousy packaging

AMONG THE BEST

Excellent bargain

So wonderful that these have been re-released

Deep and thoughtful

Beethoven: The Complete Piano Sonatas
Beethoven , and Frank
Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
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Beethoven: The 10 Sonatas for Violin & Piano

Beethoven: Piano Sonatas (Complete) [Box Set]

Schubert: Works for Violin and Piano

Beethoven`s Piano Sonatas: A Short Companion

Beethoven: The Piano Trios

ASIN: B000063DK9
Release Date: 2006-01-01

Tracks:

I. Allegro
II. Adagio
III. Menuetto: Allegretto/Trio
IV. Prestissimo
I. Allegro
II. Adagio Grazioso
III. Rondo: Allegretto
I. Allegro Assai/Piu Allegro
II. Andante Con Moto Allegro, Ma Non Troppo/Presto

Tracks:

I. Allegro
II. Allegretto/Maggiore
III. Rondo: Allegro Comodo
I. Largo/Allegro
II. Adagio
III. Allegretto
I. Vivace, Ma Non Troppo/Adagio Espressivo
II. Prestissimo
III. Gesangvoll, Mit Innigster Empfindung (Variations 1-6)

Tracks:

I. Allegro Molto E Con Brio
II. Adagio Molto
III. Finale. Prestissimo
I. Allegro
II. Andante
III. Scherzo: Allegro Vivace/Trio
IV. Rondo: Allegro, Ma non Troppo/Piu Allegro Quasi Presto
I. Presto Alla Tedesca
II. L'Absence: Andante Espressivo/Le Retour: Vivacissimamente

Tracks:

I. Allegro Con Brio
II. Adagio
III. Scherzo: Allegro/Trio/Coda
IV. Allegro Assai
I. In Tempo D'Un Menuetto
II. Allegretto/Piu Allegro
I. Allegro
II. Allegretto
III. Presto
I. Moderato cantabile, Molto Espressivo
II. Allegro Molto
III. Adagio, Ma Non Troppo/Fugue: Allegro, Ma Non Troppo

Tracks:

I. Grave/Allegro Di Molto E con Brio
II. Adagio Cantabile
III. Rondo: Allegro
I. Presto Alla Tedesca
II. Andante
III. Vivace
I. Adagio Cantabile/Allegro, Ma Non Troppo
II. Allegro Vivace
I. Allegro
II. Scherzo: Allegretto Vivace
III. Menuetto: Moderato E Grazioso/Trio
IV. Presto Con Fuoco

Tracks:

I. Andante
II. Rondo: Allegro
I. Allegro, Ma Non Troppo
II. Tempo Di Menuetto
I. Allegro
II. Scherzo: Assai Vivace
III. Adagio Sostenuto
IV. Largo/Allegro Risoluto

Tracks:

I. Presto
II. Largo E Mesto
III. Menuetto/Allegro/Trip
IV. Rondo: Allegro
I. Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck
II. Nicht Zu Geschwind Und Sehr Singbar
I. Allegro Con Brio
II. Introduzione: Adagio Molto
III. Rondo: Allegretto Moderato

Tracks:

I. Allegro Molto E Con Brio
II. Largo, Con Gran Espressione
III. Allegro/Minore
IV. Rondo: Poco Allegretto E Grazioso
I. Andante Con Variazione
II. Scherzo: Allegro Molto/Trio
III. Marcia Funebre Sulla Morte D'un Eroe
IV. Allegro
I. Etwas Lebhaft Und Mit Der innigsten Empfindung
II. Lebhaft, Marschmassig
III. Langsam Und Sehnsuchtvoll/Geschwinde, Doch Nicht Zu sehr, Und Mit Entschlossenheit

Tracks:

I. Allegro Vivace
II. Largo Appassionato
III. Scherzo: Allegretto
IV. Rondo: Grazioso
I. Allegro Con Brio
II. Adagio Con Molta Espressione
III. Menuetto/Minore
IV. Rondo: Allegretto
I. Adagio Sostenuto
II. Allegretto
III. Presto

Tracks:

I. Allegro
II. Andante
III. Scherzo: Allegro Assai
I. Andante/Allegro/II. Allegro Molto E Vivace/III. Adagio Con Espressione/IV. Allegro Vivace/Presto
I. Maestoso/Allegro Con Brio Ed Appassionato
II. Arietta: Adagio Molto Semplice E Cantabile

Customer Reviews:

Superb music - lousy packaging.......2007-03-30

The playing and sound is superb and the price is right. I have one big complaint, though. My set came with no liner notes whatsover, not even a listing of the pieces and which of the ten CDs they are on. This information is found only printed on the CDs themselves, which means you have to rummage through them to find a particular sonata. And even then the track listings are not given, so unless you have memorized how many movements each sonata has you are out of luck on finding where a particular one begins. Quite an oversight - I would gladly have paid a few dollars more if they had included a brochure with complete track information.

AMONG THE BEST.......2006-11-28

One man's viewpoint:
I have three other sets of the 32, and love them all. I must say that Frank can really cut it - great agility, a bit of rubato, and a sense of true comprehension and mastery of the music. His Hammerklavier surprised me: It's one of the most thoughtfull I own.
*** Frank can--in some pieces--transport us in ways we hadn't expected. When I bought this, I paid an amazing low price. Now, to my ears, it's worth triple that amount. Get this set and the O'Conor set. Fall in love twice.

Excellent bargain.......2006-07-26

I agree with the positive comments of all the reviewers below. A couple of points that that might interest prospective purchasers:
1. Most of the repeats, but not all, are observed.
2. Although I agree that the level of playing and interpretation is VERY high, I found Frank's mannerism of anticipating the right hand with the left occurred often enough to be annoying.
That said, this set will give a great deal of pleasure, but I agree that I wouldn't want it to be the only one in my collection.

So wonderful that these have been re-released.......2006-03-27

I "grew up" with these recordings, bought the set on vinyl in college. I was thrilled to find they'd been re-released on CD; like the Guarneri recordings of the Beethoven string quartets. There is a world of thought and care and joy here.

Deep and thoughtful.......2006-01-12

This is a marvelous set of the piano sonatas. I learned about the set from Professor Greenberg's lecture series on the Beethoven piano sonatas (also worth getting from The Teaching Company). Greenberg uses this set to illustrate his lectures.

Yes, it's true that one can find flashier performances of a few of the pieces elsewhere (I've heard the Waldstein much more fiery), but these performances fit together nicely as a deep reading of the whole set. They are invariably beautiful and thoughtful. A few are, to me, mind-blowing (the Les Adieu, the Pathetique, second movement of the Opus 111, several of the scherzi).

Also, the sound on the CD is terrific. Hightly recommended.

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

Average customer rating:

Furtwangler's Beethoven
Amazing! Outstanding! Essential!
Glorious
Remastering an old recording
Just Get It

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
Beethoven: Symphony No.9 'choral', 'egmont' Overture
Beethoven: The Complete Symphonies and Piano Concertos
Wagner: Extracts from the operas

ASIN: B00001W09Z
Release Date: 2006-01-01

Tracks:

Beethoven Symphonies

Tracks:

Sym No.5 in c, Op.67: I. Allegro Con Brio

Amazon.com essential recording

These may be the most gripping performances of Beethoven's symphonies you'll ever hear. No, not necessarily the most enjoyable or even the most accurate, but gripping--to say the least. In these wartime performances of Symphonies Nos. 3, 4, 5, 6, 7, and 9, Wilhelm Furtwängler is at his most expressive, angry self. Conducting six of the world's greatest symphonies for audiences in Nazi Germany, Furtwängler has an inner turmoil that seems to shoot straight through his baton. He drives the Vienna and Berlin Philharmonics to the edge of disaster, but miraculously they keep up--rising to the occasion. The Eroica and the Ninth are particularly emotion-filled; the latter features the great Bruno Kittel Choir and the BPO in fine form, but they--like everyone else here--are overshadowed by the conductor's bipolar mood swings and furious pacings. Brace yourself. These are shocking, awesome, thought-provoking performances that--thanks to a great remastering--have never sounded better. --Jason Verlinde

Customer Reviews:

Furtwangler's Beethoven.......2007-04-14

This set belongs next to Schnabel's piano sonatas and the Busch's string quartets as one of the great Beethoven sets in recorded history. There certainly is no better monetary value for Furtwangler's Beethoven. The 3rd, 4th, and 9th are especially definitive. Compared to Furtwangler's later performances, these are tighter, more intense, and faster-paced. It is mainly in the 6th and 7th that you miss the warmer Furtwangler of his later recordings.

No. 3 is intense, concentrated, and perfectly proportioned. I differ with some who consider the 12/8/52 to be Furtwangler's greatest 3rd. While the sound of that one is fantastic, to my ear it is just the slightest bit more slack in concentration when compared to the '44. In any case, these are easily the two best recordings of the work available, and they are both essential. Listen to the '52 for beauty of sound and phrases lengthened to their max, but the '44 would still be my desert island 3rd.

No. 4 is simply the greatest performance on record, giving a whole new level of emotional depth to this symphony.

No. 5 is for many Furtwangler's best. It is certainly well-played and perfectly proportioned. There are several Furtwangler recordings of No. 5 that are deserving of attention, and choosing between them is a matter of strong debate. For me, the two that arise above all others are the 5/23/54 and 5/25/47. The '54 is simply astounding. It is a perfect performance in fantastic sound for its time. It really knocks you out of your chair. This is the recording for people who want to know what all the fuss was about Furtwangler's Beethoven. (How on Earth did the man conduct like this just 6 months before his death?) The '47 is also special for its edge-of-your-seat spontanaity. While not as good in sound quality as the '54, it is more fleet and rhythmically free. The rousing coda of the finale has to be heard to be believed - Furtwangler at his most magical. There is also a deleted DG recording two days later in better sound, but not quite as inspired. The '44 is still a great performance, but for me Furtwangler reached greater heights in these two later recordings.

No. 6 is one that perhaps misses some of the warmth of Furtwangler's later recordings. It is still a great one, particularly in the storm, and the playing of the Berlin Philharmonic is magnificent. You really get the sense of the storm slowly subsiding and sunshine peering through the clouds in the final movement. Like the 5th's with which they are paired, the 5/23/54 and 5/25/47 are the performances that show Furtwangler at his best. The '54 is pretty definitive and in great sound.

No. 7 is exciting and dramatic. Though it has much to recommend it (listen to the beautiful tempo fluctuations in the scherzo), I sometimes miss the more patient pacing of Furtwangler's later recordings. The '53 DG recording is probably his best, with excellent tempo transitions and a rousing conclusion to the finale. The sound is also very present and clean for the period. The '50 EMI recording is not far behind.

No. 9 is simply the greatest orchestral recording ever made of anything. Yes, some will say it is too intense, but what else do you want with this symphony? You simply cannot go back to other interpretations after hearing this one. Only the '51 Bayreuth performance comes close. That one is a good alternative for hearing cleaner sound and some strong brass playing. The '54 Lucerne is by far the best-sounding. However, it does not have the same intensity as the other two. By comparison, it almost sounds tired. Of course this is all relative: The '54 Lucerne still puts every other recorded version after Furtwangler in the shade. And then there is also the '37, which is dimly recorded but still exhibiting Furtwangler's unique intensity.

And let us not forget the overtures, particularly the '43 Coriolan. Along with the '42 9th, this is also one of the greatest orchestral recordings ever made. Astounding drama and concentration. Unfortunately, Furtwangler's definitive '47 Egmont on DG is not presently available.

In short, run out and grab this set while also complementing it with a few of Furtwangler's later recordings. My desert island choices for Furtwangler's Beethoven symphonies would be:

3rd: '44 and 12/8/52, 4th: '43, 5th & 6th: 5/25/47 and 5/23/54, 7th: '53, 9th: '42 and '51

Amazing! Outstanding! Essential!.......2007-04-12

This set collects some of the greatest and awesome Beethoven interpretations in world history. Their classical status is unmatched: at the conductor's rostrum, we have Wilhelm Furtwängler at the height of his exceptional understanding of Beethoven's music. The context of the recordings is WWII, mainly in the wartime Germany (of course, Vienna belonged to Germany after the 1938 "Anschluss", but I choose to see Vienna as the capital of Austria). Like some other great artists and intellectuals, Furtwängler decided to stay in Germany during the Second World War. But unlike disgusting opportunists like von Karajan, he never joined the Nazi party - in fact, he even refused to shake Hitler's hand.

Of course, Furtwängler's impeccable moral contributes to his greatness. Just listen to his magnificent ninth, with its humanist message. It's a breathtaking performance that should move everyone to tears.

Here are the recordings dates of the performances in this box:

Symphony 3: Vienna Philharmonic Orchestra, 19-20 December, 1944.
Symphony 4: Berlin Philharmonic, 27-30 June, 1943.
Symphony 5: Berlin Philharmonic, 27-30 June, 1943.
Symphony 6: Berlin Philharmonic, 20-22 March, 1944.
Symphony 7: Berlin Philharmonic, 31 October-3 November, 1943.
Symphony 9: Berlin Philharmonic, 22-24 March 1942. (Solists are Tilla Briem, Peter Anders, Elisabeth Höngen, and Rudolf Watzke.)

Music & Arts' remasterings (made by Maggi Payne) are very good. Of course, what we have here are old mono, live recordings, so don't expect HiFi quality. But what you can expect are recordings of the century, essential for any music collection.

Strongly and warmly recommended!

Glorious.......2007-02-10

Impossible to put into mere words the effect of these tremendous performances: they are glorious, powerful, sublime. True these are
(excellently remastered) mono recordings of live performances more than 50 years old, so there is some noise and some harmonic distortions also. But the music and the performances completely and thoroughly transcend this, even on the finest audio equipment. Your Beethoven collection is simply not complete unless you have this one, and also the Bayreuther 9th from 1951 (also available on EMI classics). Indeed, once you have these, you may find you don't want to listen to any other cycles of these symphonies that you may have, however fine and technically perfect they may be.

Remastering an old recording.......2007-01-09

If you want to experience how Beethoven was played 40 years ago, then buy this CD set. But beware of sound quality and some technical glitches. In addition, audience noise can be distracting.

Just Get It.......2006-09-22

...even if this is the only CD of Beethoven's Orchestral Works you ever buy.
Even though they are in mono, old, noisy, with pitch variations at places (but still remarkably good transfers), for many of the works here it's safe to say that you have not really heard them unless you have experienced these recordings.
Four of the works (4,5,6,7) are great performances, but there are other great ones out there as well.
However, the recordings of the ninth (BPO Mar'42) and third (VPO Dec'44)symphonies as well as the Coriolan and Leonore III overtures are definitive and unique, and each of them is by itself worth the price of the whole set. The only downside to getting them is that it might become hard to be attentive to most other recordings afterwards.

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

Average customer rating:

Unsurpassably great
The best Brahms cycle I have heard so far
Furtwangler's best Brahms symphony recordings
Simply Mandatory For Brahms Lovers
Anything but dull

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
Recordings 1942-1944, Vol. 1
EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Leon Fleisher Plays Brahms

ASIN: B00002062I
Release Date: 1999-11-16

Tracks:

Symphony No. 1 In C, Op. 68: I Un poco sostenuto - Allegro
Symphony No. 1 In C, Op. 68: II Andante sostenuto
Symphony No. 1 In C, Op. 68: III Un poco allegretto y grazioso
Symphony No. 1 In C, Op. 68: IV Adagio piu andante - Allegro non troppo ma con brio
Symphony No. 1 In C, Op. 68: Adagio piu andante - Allegro non troppo ma con brio

Tracks:

Symphony No. 2 In D, Op. 73: I Allegro non troppo
Symphony No. 2 In D, Op. 73: II Adagio non troppo
Symphony No. 2 In D, Op. 73: III Allegretto grazioso
Symphony No. 2 In D, Op. 73: IV Allegro con spirito
SYMPHONY NO. 3 IN F, OP. 90: I Allegro con brio
SYMPHONY NO. 3 IN F, OP. 90: II Andante
SYMPHONY NO. 3 IN F, OP. 90: III Poco allegretto
SYMPHONY NO. 3 IN F, OP. 90: IV Allegro

Tracks:

Symphony No. 4 In E, Op. 98: I Allegro non troppo
Symphony No. 4 In E, Op. 98: II Andante moderato
Symphony No. 4 In E, Op. 98: III Allegro giocoso
Symphony No. 4 In E, Op. 98: IV Allegro energico e passionato
Variations On A Theme By Haydn, Op. 56A: Haydn Variations

Tracks:

Piano Concerto No. 2 In B Flat, Op. 83: I Allegro non troppo
Piano Concerto No. 2 In B Flat, Op. 83: II Allegro appasionato
Piano Concerto No. 2 In B Flat, Op. 83: III Andante
Piano Concerto No. 2 In B Flat, Op. 83: IV Allegretto grazioso
Variations On A Theme By Haydn, Op. 56A: Chorale St. Antoni: Andante
Variations On A Theme By Haydn, Op. 56A: Var. I Poco piu animato
Variations On A Theme By Haydn, Op. 56A: Var. II Piu vivace
Variations On A Theme By Haydn, Op. 56A: Var. III Con moto
Variations On A Theme By Haydn, Op. 56A: Var. IV Andante con moto
Variations On A Theme By Haydn, Op. 56A: Var. V Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VI Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VII Grazioso
Variations On A Theme By Haydn, Op. 56A: Var. VIII Presto non troppo
Variations On A Theme By Haydn, Op. 56A: Finale. Andante

Amazon.com essential recording

What a bonanza: some of the most searching interpretations ever made of symphonic cornerstones, from a now bygone era of performance, here beautifully remastered by Music & Arts and packaged into a bargain set. Wilhelm Furtwängler's dynamic, always-evolving--and often unpredictable--visions of a classic score could overwhelm listeners with their paradoxical aura of the inevitable, wresting away the easy, dull comfort of familiarity. This is most dramatically the case with the conductor's performances of Beethoven. They still move and shake us free of lazy assumptions about this music with all the power of artistic truth. Furtwängler came relatively late to Brahms (like so many of the composer's most abiding admirers) but identified deeply with Brahms's dark strain of melancholy and self-consciousness. The Furtwängler trademarks are all here--palpable molding of tempos and dynamics to concentrate drama, oracular moments of insight, and an astonishingly compelling, organic sense of the whole.

Perhaps the most viscerally thrilling account here is of the First Symphony, from 1951, which, as John Ardoin brilliantly describes it in The Furtwängler Record, has the "magnificent rawness of a Michelangelo." But, when you think you've reached an untoppable high at its conclusion, listen to the finale from Furtwängler's final wartime concert in Berlin, 1945 (the only extant movement on disc), included in this set. The symphonies presented here are a far cry from the stuffy, pedantic, anachronistic Brahms served up by so many lesser lights. Furtwängler grasps and conveys the subtly layered ambiguities in these scores, the blending--particularly in the Second's Adagio (1945) and the final measures of the Third (1943)--of deep shadow with serene sunlight. His Brahms Four from 1943 at times verges on the terrifying; ultimately it passes beyond tragedy into new wisdom as Furtwängler scoops, caresses, sculpts, and simply builds musical contours. The set also includes two interpretations of the Haydn Variations (1943 and 1951) and the legendary 1942 Second Piano Concerto featuring Edwin Fischer as soloist--a touchstone of musical partnership. There's a varying level of background hiss and distortion throughout the set, but in general this is an extraordinary CD transfer. And in Furtwängler's presence, any distracting artifacts of the recorded sound soon fade into insignificance. This is a must not only for listeners serious about Brahms but for anyone intrigued by the art of musical interpretation. --Thomas May

Customer Reviews:

Unsurpassably great.......2005-06-01

In a sense, Furtwangler's best Brahms recordings, collected here, are even more impressive than his Beethoven. Beethoven is almost foolproof, and even in a mediocre performance he will come across intact, but botch Brahms and a tedious soup is all that remains. Compared to Furtwangler's Brahms, all other versions seem not interpreted but merely played through. Under Furtwangler's baton, Brahms emerges as a tragic artist of Shakespearean proportions, with the unbelievable 1945 performance of the last movement of the First--as another listener points out, it stands with his 1942 Ninth among his greatest achievements on record--and the complete performance of the Fourth as particular standouts. As others have noted, the Third isn't quite up to par--personally I prefer the version in the EMI box, which has a terrifically dynamic first movement--but all in all these are performances to render almost all others insignificant. Nowhere else does Furtwangler better exemplify his uncanny ability to find the living core of a piece of music and bring it out whole. This is visionary artistry of the highest order, to which all discussion of conductorial eccentricity is irrelevant, and it will make a Brahms lover of anyone who encounters it fully. A completely extraordinary set of recordings, and a must.

The best Brahms cycle I have heard so far.......2005-04-18

The Furtwangler cycle of Brahms is comething special indeed. The sound leaves much to be desired, but trust me, after you hear the performances you will never want to hear Brahms any other way (no matter how good the sound is)!! This cycle is raw, uninhibited, fierce, probing, tragic but above all powerful. Take the finle of the 4th symphony as an example. It is played at a faster pace of any other recording I have heard of the piece. At the end the variations played on strings are almost a little sloppy. But playing them at that tempo gives the overall movement such great power, spontaniety and drive that it does'nt matter. These performances are should be the gold standard for all others. No other brahms cycle comes ever close.

Furtwangler's best Brahms symphony recordings.......2005-03-02

...all in one set! I'm not going to jump on "madamemusico's" one-star review too much, since she has certainly gotten her share of well-earned unhelpful votes, but I don't know what the hell the argument that Brahms is a "classicist" has to do with anything. The way I look at it, Brahms may have been a classicist with regard to form, but he had heart and soul of a romantic, so I don't understand what precludes his symphonies from being played as full-blooded romantic music. Just admit you don't like Furtwangler, and don't taint the ratings here with personal biases. 'Nuff said on that subject.

"Brahms music is boring and his orchestration is too thick," is one of my least favorite of the countless cliches' about romantic era composers and their music. When I worked at a record store several years ago, I was playing a really good and exciting recording of a Mendelssohn symphony, and a lady came in and, after listening to it for a few minutes, she asked, "What is this? It's really good." "Mendelssohn's (I think it was the 3rd) Symphony," I responded. "Really?!" she said, surprised; "I thought Mendelssohn was boring." "That's because you've never heard any GOOD Mendelssohn," I said. She bought the CD. I am not a big Mendelssohn fan, but the point of this anecdote is that you frequently get the same kinds of opinions about Brahms, based on cliches' about his music that preclude people from giving it serious consideration: "Oh yeah, Brahms; thick and boring. Not my cup of tea." Then you hear some GOOD Brahms, and you are a fan for life.

I would not pretend that this is the only Brahms set you should have. The sound quality is variable, and Furtwangler's style is unique, but if you have any interest in Brahms' symphonies, and you have some more modern recordings that you like, then you really need to have this one; esp. since you can probably get an inexpensive copy on the Marketplace.

I have listened to many of Furtwangler's numerous Brahms recordings, and there is no question in my mind that M&A have assembled the best ones here. Part of the magic of Furtwangler's Brahms is that, despite the weight of the sound that he gets from these great orchestras, plenty of detail can be heard, and surprisingly little apology needs to be made for the sound, even though these recordings are from widely different sources.

Brahms recorded multiple good Brahms' Firsts, but this one from 1951 with Schmidt-Isserstedt's wonderful Hamburg orchestra is my favorite, and it has the best sound of any Furtwangler Brahms recording. The Tahra release of the First has slightly better sound than the M&A, but not enough to diminish the appeal of this set. The wartime Second might have the most thrilling account of the wonderful finale ever recorded. The Third, recorded in the last few months of Furtwangler's life is deeply ruminative, and is the most idiosyncratic of all of the readings here in that much of it is very slow, but it is easily the best of his Thirds, and I find it to be a uniquely satisfying reading. It has often been commented on the Brahms' music has an autumnal feel to it, and it seems to me that this is particularly explicit in the Third, with its luminous woodwind coloring, esp. the clarinet parts: the third was the last of the Brahms symphonies that I fell in love with-- courtesy of the Szell recording--and there is a palpable feeling of deep autumnal reflection in Furtwangler's reading, esp. in his achingly beautiful account of the third movement; and in the closing bars of the quiet coda, you can almost see the last autumn leaves slowly wafting down to the earth. The wartime Fourth is one of the most overtly tragic readings you will ever hear, with an amazing forward thrust to the finale; again, this is easily Furtwangler's best reading.

The fact that there are later Furtwangler Brahms recordings with somewhat better sound is not really a factor, such is the quality of the performances assembed in this M&A set. If you have this set you don't really need any other of Furtwangler Brahms symphony recordings. The EMI References set is good, but those performances are all runners-up to all of those in this set.

Simply Mandatory For Brahms Lovers.......2004-05-25

I feel that this set belongs in EVERY collection. It has great CD transfers, sensational conducting and WONDERFUL Brahms!

Sym. #1: This 1951 Hamburg with the North German Radio is, to my mind, the finest Brahms 1st on record. It is also on Tahra FURT 1054/7, but this M&A transfer is distinctly SUPERIOR: the Tahra has lots of extra hiss and a midrange that sounds rather hollow. However, you MUST have that Tahra set because it contains Furtwangler's majestic 1954 Lucerne Beethoven 9th in its best transfer. The only Furtwangler 1st to rival this Hamburg is the 1952 Berlin Phil. (deleted DG 415662-2). More mellow and less dramatic, it and this Hamburg are sonically just about the best of ALL Furtwangler recordings.

Sym. #2: The 1945 Vienna Phil. here is also available on 6-disc DG set 474030. They are close in sound quality, but I would give the edge to M&A. Incidentally, you must have the DG set for its 1944 Vienna Phil. Bruckner 8th in a finest-ever transfer. This Brahms 2nd is VERY dramatic, but the lesser 1948 with the London Phil. (Dutton) has grown on me of late - if it were the only Furtwangler available, most of us would be raving about it! My favorite Furtwangler Brahms 2nd remains the more reflective, less hectic 7 May 1952 Berlin Phil. account (mine is on an Electrola Da Capo LP).

Sym. #3: This 1954 Berlin is the best of 3 Thirds - it was also on DG 423572-2 (deleted) in sound that was the same as this M&A (the DG was coupled with my favorite Furtwangler account of the Schubert 8th from 1952). He isn't as persuasive in the 3rd, but the closing pages have a lovely autumnal, valedictory quality.

Sym. #4: This dynamic 4th from 1943 is his best, and this is its best-ever transfer.

2nd Piano Concerto: The 1942 live sound is congested (it's the only poor sound in this set). The transfer on DG 471294-2 is somewhat better, but both are pretty bad.

Haydn Variations: This 1951 Hamburg and the Berlin 1950 (DG) are my two favorites: both have excellent sound.

Brilliant as these are, there are accounts by other conductors that I also cherish. Some are foils that help to appreciate the greatness of Furtwangler's readings, and a few of them offer insights that are different and perhaps equally valid. In the 1st, Abendroth is stunning (his best: the live 1955 Berlin Radio on Tahra 145/146). If there were no Furtwangler Brahms 1st, this would be my favorite. I am also quite taken with the 1953 Schuricht/Suisse Romande on Archiphon 2.1 - its coupling is a Beethoven "Missa Solemnis" with Stader, Calveti, Haefliger & Rehfuss. Since Furtwangler never recorded the latter, you might want to try it this excellent Schuricht.

For the 2nd, my other favorites are Schuricht/VPO (London LP) and Fritz Busch (EMI). The Max Fiedler and Walter Damrosch 2nds (on different Biddulph CDs) are weirdly hypnotic - a trip back to the past. In the 3rd, I love Kna (Tahra), Schuricht (Greenhill), and Mengelberg (Naxos). For the 4th, three worth hearing are Abendroth (Arlecchino), Busch (Dante LYS), and Schuricht (Ades).

Edwin Fischer isn't my top choice in the 2nd Concerto, despite the lovely slow mvt. I prefer Curzon with Kna/VPO on a Decca LP. And for the Haydn Variations, I also like the pokey Kna/VPO (Decca) and the Schuricht (Ades).

But make no mistake: if my house were on fire and I could keep only one Brahms set, it would be this Furtwangler. If I could grab two, the old Weingartner (deleted EMI) would come along for contrast. As Fielding once observed, "what is a jewel without its foil?"

Anything but dull.......2003-10-02

Many (perhaps most) people see Brahms as being particularly dull. This set, without any doubt, completely destroys this myth. Just listen to the 1945 recording of the finale to the First symphony, and you will hear one of the most inspiring, most desperately intense recordings of orchestral music you are ever likely to hear (on this score, it is rivalled only by Furtwangler's titanic 1942 recording of Beethoven's Ninth symphony). The main reason why I greatly admire Furtwangler's conducting is that he almost always conveyed a complete understanding of what the music really means; he was a master of the lost art of reading inbetween the lines. This is in great evidence here. The marvelous 1951 Hamburg recordings of the First symphony and the Haydn variations have such a warm, personal sound, and are both intense and noble. The Second symphony has been refered to as Brahms' Pastoral symphony. Furtwangler realises, just as with Beethoven's Pastoral symphony, that this music is not un-dramatic to the point of being comatose, but rather is a thrilling symphony to the wonders of nature, very beautiful, but with a spiritual side as well. The first three movements of the Third symphony are incredible. How could he get that sound out of an orchesta? I cannot describe it in words; you just have to listen to it. The finale of the Third symphony is, from an interpretive standpoint, mildly dissapointing for Furtwangler. (For just about anyone else, it would have been extraordinary.) I agree with John Ardoin (author of a fine book on Furtwangler's recordings; the liner notes are taken from it) here, in thinking that the transition from the introduction to the main Allegro is too abrupt and unexpected, and the very end of the movement is rather unremarkable for Furtwangler. These are very fine interpretive points, however, and the overall experience is still thoroughly enjoyable. The Fourth symphony is excellent here, through and through. Particularly notable is the finale, which, as a previous reviewer noted, is almost apocalyptic. The wartime Haydn variations is somewhat less contemplative and warm toned than its 1951 counterpart, but is more 'straightforward' in its interpretation, and is perhaps more 'festive', joyful, or whatever else you care to call it. To cap this set off is an incredible performance of the 2nd piano concerto, with Edwin Fischer. I don't always care for his playing (I generaly don't find enough subtlety in his touch, listen to Hofmann for that), but here he and Furtwangler work as one, which of course is a great thing. On top of all this, the sound quality, even with the concerto (from 1942), is quite good, and with the Third, is exceptionaly clear. If I were to have no Brahms but this, I would still be happy.

Pablo Casals: Festivals at Prades Vol. 1

Average customer rating:

Bravo Maestro
They don't make 'em like this any more...
Treasure!

Pablo Casals: Festivals at Prades Vol. 1
Menuhin
Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Folk | Styles | Music

Traditional Folk | Folk | Styles | Music
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Beethoven: Late Quartets, etc / Busch Quartet
Casals Festivals at Prades, Vol. 2
Beethoven: Complete Piano Sonatas (Box Set)
A Sonata Recital by Joseph Szigeti & Béla Bartók
Johannes Brahms: Sextet No. 1/Piano Trio No. 1

ASIN: B000086EMD
Release Date: 2003-02-25

Tracks:

I. Allegro
II. Larghetto
III. Allegretto
I. Bewegt, Doch Nicht Zu Rasch
II. Ziemlich Langsam
III. Rasch
IV. Kraftig, Mit Humor

Tracks:

I. Allegro Con Brio
II. Andante Con Variazioni
III. Menuetto. Quasi Allegro
IV. Finale. Prestissimo
I. Allegro Vivace Con Brio
II. Largo Assai, Ed Espressivo
III. Presto

Tracks:

I. Allegro Energico
II. Presto Non Assai
III. Andante Grazioso
IV. Allegro Molto
I. Poco Sostenuto/Allegro, Ma Non Troppo
II. Allegretto
III. Allegretto, Ma Non Troppo
IV. Finale. Allegro

Tracks:

I. Prelude. Allegro
II. Allemande. Quasi Maestoso
III. Courante. Allegro Non Troppo
IV. Sarabande. Lento
V. Bourree I. Allegro Moderato
VI. Gigue. Vivace
I. Allegro Con Brio
II. Adagio Con Molto Sentimento D'Affeto/III.Allegro-Allegro Fugato
I. Op.121a (Not Divided Into Movements)

Tracks:

I. Adagio
II. Allegro Ma Non Tanto
III. Andante
IV. Allegro Moderato
I. Allegro Con Brio
II. Scherzo. Allegro Molto
III. Adagio
IV. Allegro
I. Allegro
II. Adagio
III. Andante Grazioso
IV. Allegro

Tracks:

I. Sehr Lebhaft
II. Mitinnigem Ausdruck
III. In Massiger Bewegung
IV. Nicht Zu Rasch
I. Allegro - Arthur Grumiaux
II. Larghetto - Arthur Grumiaux
III. Allegretto - Arthur Grumiaux

Tracks:

Prelude & Fugue In D Major - Mieczyslaw Horszowski
Prelude & Fugue In F-sharp Minor - Mieczyslaw Horszowski
Prelude & Fugue In G Major - Mieczyslaw Horszowski
Prelude & Fugue In B Minor - Mieczyslaw Horszowski
I. Allegro Con Brio - Arthur Grumiaux
II. Tema Con Variazioni - Arthur Grumiaux
III. Rondo (Allegro) - Arthur Grumiaux
I. Allegro - Paul Tortelier
II. Adagio - Paul Tortelier
III. Allegro Ma Non Troppo - Paul Tortelier
Aria - Victoria De Los Angeles

Tracks:

I. Allegro
II. Andante Con Moto
III. Scherzo. Presto
IV. Finale. Allegro Giocoso
I. Mit Energie Und Leidenschaft - Mieczyslaw Horszowski
II. Lebhaft, Doch Nicht Ru Rasch - Mieczyslaw Horszowski
III. Langsam, Mit Inniger Empfindung - Mieczyslaw Horszowski
IV. Mit Feuer - Mieczyslaw Horszowski

Tracks:

I. Adagio Sostenuto/Allegro/Presto
II. Allegro Vivace/Adagio
I. Adagio Sostenuto Ed Espressivo/Allegro Molto Piu Tosto Presto
II. Rondo. Allegro
I. Allegro Moderato
II. Poco Adagio
III. Rondo. Allegro Moderato/Allegro Molto

Tracks:

I. Allegro, Ma Non Tanto
II. Scherzo. Allegro Molto
III. Adagio Cantabile/Allegro Vivace
I. Andante/Allegro Vivace
II. Adagio/Tempo D'Andante/Allegro Vivace
I. Allegro Con Brio
II. Adagio Con Molto Sentimento D'Affetto
III. Allegro

Tracks:

Seven Variations On The Duet 'Bei Mannern, Welche Liebe...' From Die Zauberflote By Mozart, For Cello And Piano
I. Allegro - Mieczyslaw Horszowski
II. Adagio Molto Espressivo - Mieczyslaw Horszowski
III. Allegro Con Variazioni - Mieczyslaw Horszowski
I. Allegro - Jose Gonzales
II. Larghetto - Jose Gonzales
III. Menuetto/Trio I/Trio II - Jose Gonzales
IV. Allegro Con Variazioni - Jose Gonzales

Tracks:

I. Allegro Ma Non Troppo - Karen Tuttle
II. Adagio (Segue) - Karen Tuttle
III. Scherzo. Persto (Segue) - Karen Tuttle
IV. Allegretto/Piu Allegro - Karen Tuttle
I. Molto Allegro Ed Agitato
II. Andante Con Moto Tranquillo
III. Scherzo. Leggiero E Vivace
IV. Finale. Allegro Assai Appassionato

Tracks:

Adagio And Allegro For Piano And Horn In A Flat Major, Op.70
I. Introduzione. Andante Espressivo/Allegro - Vegh Quartet
II. Scherzo. Presto/Intermezzo - Vegh Quartet
III. Adagio - Vegh Quartet
IV. Presto - Vegh Quartet
I. Allegro Brillante - Rudolph Serkin
II. In Modo D'Una Marcia. Un Poco Largamente/Agitato - Rudolph Serkin
III. Scherzo. Molto Vivace/Trio I/Trio II. L'Istesso Tempo - Rudolph Serkin
IV. Allegro Ma Non Troppo - Rudolph Serkin

Customer Reviews:

Bravo Maestro.......2007-01-03

I consider myself fortunate to have found this gem. I have always admired Casals not only for his extraordinary musicianship but also for his political courage. The story of Prades is heart warming and the music is a rare treasure. If you are a Casals fan, you might also want to hear Casals conducting Beethoven's 7th Symphony...a masterpiece.

They don't make 'em like this any more..........2006-11-28

The quality of the MUSIC here is remarkable. Many of the world's elite classical artists of the post-World War II generation are here - and the result is magic! A few of the highlights for me are the Mozart Piano Quartet No. 2 (disc 1), Beethoven Cello Sonata in A Major (disc 10), Mozart Oboe Quartet (disc 7), and many more...

You might wonder, however, how these live 50's recordings compare to recordings made in the digital era? Well... in a word, very good, very good indeed considering. Occasionally there is audience coughing (primarily just during the breaks between sections) - after all this was recorded live and you can also sometimes hear music pages turning on the stage if you listen closely. However, the sound is about as full range as you could ask for and the hiss and noise levels are very acceptable and not ever intrusive - I did note that the string instruments generally sound very good while the piano does not always fair quite as well, sometimes sounding slightly boxy - the piano is just far more difficult to record in any live setting because it is more dependent upon the room acoustics. Still, overall, the restoration is very good and trust me, you will become engaged in the MUSIC very quickly and forget all about any limitations of the recordings.

To summarize, as other reviewers have also noted, the sound quality, while not perfect by digital standards, is indeed very good - the important thing is to be assured that sound quality considerations never get in the way of the fantastic, wonderful performances. They really don't make music like this anymore.... well maybe they do sometimes, but not on thirteen discs in a row! Of course, I'm now going to purchase the second box set.

Treasure!.......2003-06-19

When I first heard this set, I thought to myself: now I know how Howard Carter felt when he looked for the first time into Tutankhamen's newly-excavated tomb. Maybe you know the story: As his colleagues broke the seal on the long-undiscovered tomb's final door, Carter peered into a completely dark treasure room, illuminated fitfully by the beam of his flashlight. Someone asked, "What do you see?" and he answered, "Wonderful things!" Well, this set of Casals & Friends performances from early 1950s Prades Festivals also offers an unbelievable wealth of long-unheard, wonderful things. It is impossible to overpraise this production, or find the words to adequately thank Music and Arts for issuing such extravagance in these days of penny-pinching from what we used to call the major record companies. Thirteen (!) CDs of live performances, most featuring Pablo Casals working with front-rank collaborators, and all worth hearing many times over. Highlights? Casals, Rudolf Serkin, Alfred Cortot and Eugene Istomin survey all the Beethoven cello sonatas; Casals and Menuhin treat us to all the Brahms trios; the great, lamented William Kapell plays glorious Mozart and Beethoven with a young Arthur Grumiaux; the Vegh Quartet offer marvelous Schumann ..... and many, many more. Yes, you learn that even Willy Kapell could smudge a note now and then when performing 'live.' But, overall, the mistakes are few, and the musical insights so numerous as to defy listing. Note that these performances are completely different from those other, "official" live Prades recordings issued by Sony/Columbia/CBS over the past 30 years, so if you own the Sony CDs (and you should!), rest assured that while there is some overlap of repertory, you will not be duplicating performances. (On the other hand, 9 of the 13 discs were previously issued a few years back by Music and Arts.) Sound quality is mono and variable, but never less than completely acceptable. In fact, the sound quality (as realized by ace M&A engineer Maggi Payne) is surprisingly good considering that many of the performances apparently originated in the naves of ancient stone churches, not exactly a recording engineer's dream soundstage! Packaging is spartan, but well-designed and attractive: paper envelopes contain the CDs which are held together in a space-efficient soft box. Full liner notes helpfully discuss the origins of the Prades Festivals, and provide a limited discussion of participating artists other than Casals. (The fabulous Kapell performances -- of music he recorded nowhere else -- represent the pianist's only appearance at Prades, just a month or two before his tragic death in a plane crash.) Final word: In this set you get some of the greatest performing artists of all time playing some of the greatest chamber music ever written ..... and for an unbelievably low price. Unless you are completely averse to live music-making or have no tolerance at all for fallible sound, you need to own and hear these discs, over and over again!

Harrison: Double Concerto for Violin, Cello and Javanese Gamelan

Average customer rating:

Harrison: Double Concerto for Violin, Cello and Javanese Gamelan

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

General | Jazz | Styles | Music
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Harrison: Piano Concerto/Suite For Violin, Piano And Small Orchestra
La Koro Sutro
Music of Lou Harrison
Chamber and Gamelan Works
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ASIN: B000055ZC1
Release Date: 2006-01-01

Tracks:

Double Concerto for Flute and Java Gamela

Average customer rating:

A decent enough indie rock/emo album - it has several good songs on it - most people won't like it - 3.5 stars
wonderful

Gifted Program
The Divorce
Manufacturer: Made in Mexico
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Punk Revival | Hardcore & Punk | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
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There Will Be Blood Tonight
The Stupid Stupid
Harmonies For The Haunted
We Were Dead Before the Ship Even Sank
Plans

ASIN: B000AMPZA8
Release Date: 2005-09-06

Tracks:

Yes!
Cash Machine
Birds = Magic
Call The Police
Doctors And Friends
Air Traffic Control
Deny! Deny! Deny!
Houses Of Hurricanes
Be Quiet
Fishing With The Party Sharks

Customer Reviews:

A decent enough indie rock/emo album - it has several good songs on it - most people won't like it - 3.5 stars.......2006-01-08

The Divorce's "Gifted Program" is a decent enough indie rock/emo album, but it's definitely not something you should rush out and get. It's pretty cheesy at times and I think I'd qualify it has a guilty pleasure. The singer definitely helps my case (he's not that good or likable, but he's not horrible either). Lyrically the songs try to be interesting, but they pretty much fail at this. There aren't any catchy or memorable lyrics here, either. I'm going to make the claim that the best songs here are "Yes!" and the slightly anthemic and emotional "Birds = Magic". The rest are decent, but nowhere near as good as these two. Indie rock and emo fans might like some of this, but I couldn't really recommend it. Overall it's just a "decent" album.

Highlights include:
"Yes!"
"Cash Machine" (sort of)
"Birds = Magic"
"Doctors & Friends"
"Air Traffic Control"
"Deny! Deny! Deny!" (kind of)
"Houes in Hurricanes" (the drums are pretty cool in the beginning)
"Be Quiet"

wonderful.......2005-10-30

these guys are great. the album is awesome. it's a little different than their first one, but if you buy it, you will not be dissappointed. i promise! plus, the band members are really great, nice guys. wonderful music. really awesome.

Program for Early Parent Support (PEPS): Sing with a Child

Average customer rating:

Instant Calm Down
A great CD for a great cause!
Great After 2 Years
Great to infant development
Our Most Favorite CD

Program for Early Parent Support (PEPS): Sing with a Child

Manufacturer: PEPS Records
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

General | Pop | Indie Music | Stores | Music
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For The Kids
No!
Raising An Emotionally Intelligent Child
Super Baby Food
Becoming the Parent You Want To Be: A Sourcebook of Strategies for the First Five Years

ASIN: B0000XO11G
Release Date: 2002-04-23

Tracks:

Rig a Jig Jig
Sittin' in a Highchair
Tongue, Nose and Eyebrows
Itsy Bitsy Spider
Put Your Baby in the Air
Run Baby Run
If You're Happy and You Know It
Los Elefantes
Skin-a-ma-rink
Row, Row, Row Your Boat
Tu Ra Lura Lura
Where is Thumbkin?
Twinkle, Twinkle, Little Star
Close Your Eyes Little Sister
Brahms Lullaby

Album Description

"Where words fail, music speaks." This album will inspire singing in parents and young children. Singing to babies is second nature to parents, once they get the hang of it. All of these songs are heard every day in PEPS' new parent support groups! These songs will help to form loving bonds between parents and babies; calm babies when they are stressed; and encourage infant brain development. Our hope is that families will create their own ditties where this album leaves off. Album sales support the mission and programs of Program for Early Parent Support (PEPS), a nonprofit organization based in King County, WA. PEPS' mission is to provide community-based programs that enable parents of infants and young children to meet the challenges of parenting through mutual support and shared information.

Customer Reviews:

Instant Calm Down.......2007-03-27

I bought this CD to support PEPs, I really enjoyed my group and wanted to support it. And, I ended up LOVING the music! So did my 3 year old & 1 year old...We keep this in the car and when we turn on "CD 6" its almost instant calming down time. It's a great mix of both upbeat songs that children can learn the words to as well as lullabies (turalurlura is my favorite). Thanks PEPs!

A great CD for a great cause!.......2006-11-05

This CD makes me and my one-year-old daughter dance around the kitchen. The songs are catchy, but not annoying, and it includes some fun verses in Spanish, too. We are in a wonderful PEPS group, so we know that this CD supports a valuable program!

Great After 2 Years.......2006-08-18

We love this CD like all the other reviewers. My daughter has listened to the songs for the past 2-years (not every day, of course). My husband and I still like them after all this time as well. It's a great CD to transition from moving with your baby to having your baby move on her/his own. I use to dance around to "Run Baby Run" with her in my arms, and now my daughter runs around me in circles when the song comes on. It has good songs for hand-eye movements - "Itsy Bitsy Spider", "Where is Thumbkin", "Twinkle, Twinkle, Little Star", "If Your Happy". Also, nice soft music for cuddling, "Tu Ra Lura Lura", "Close Your Eyes Little Sister". I like this CD so much that it's my standard gift for anyone having a new little one. Also, having participated in the PEPS program before moving south, I know my dollars are going to a great program.

Great to infant development.......2006-08-09

We love this CD because we can continue to sing the songs we learned in our PEPS group. Our baby recognizes them and really enjoys the music.

Our Most Favorite CD.......2005-02-02

This is a fantastic CD for baby and parents alike. Our son loves for us to sing along to the songs. My husband and I both find them to be catchy and some good baby rock & roll. We love this CD and HIGHLY recommend it!

Average customer rating:

Absolutely amazing!
only had one lesson

Dr. Walton's Stopping Smoking
Dr. James E. Walton
Manufacturer: Dr. James E. Walton, Ph.D.
ProductGroup: Music
Binding: Audio CD

Self-Help | Miscellaneous | Styles | Music

General | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music

Spoken Word | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music

Healing | New Age | Styles | Music
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eHypnotapes: Tension Relief
Stop Smoking
Stop Smoking Using Your Unconscious Mind A Subliminal Program (plus bonus subliminal audio CD)
Forever Smoke Free! Stop Smoking Hypnosis (3 CD Set)
Meditations for Weight Loss

ASIN: B000209HWA
Release Date: 2004-04-01

Tracks:

Creating a Winning Attitude for Stopping Smoking
Healing the Body after Cigarettes
Staying Off Cigarettes without Weight Gain
A Simple Explanation of Hypnosis
The Hypnosis Session to Stop Smoking Forever
A Meditation to Improve Focus & Concentration as a Non-smoker
Further Information

Album Description

Have you ever wondered what it would be like to get into your car, talk on the phone or finish a meal without craving a cigarette?

You can with Dr. Walton's help; and it might be easier than you think.

Dr. James E. Walton has developed an effective hypnosis procedure for helping people get off and stay off cigarettes for good.

This innovative hypnosis treatment works together with the unconscious mind to replace the urge to smoke with a relaxed feeling of focus and concentration. For many people, the urge to smoke simply disappears. You can be in the presence of other people smoking and still have no desire to smoke yourself. You can get into your car, talk on the phone, finish a meal or take a break free from ever feeling the nagging urge to have a cigarette.

Dr. Walton's powerful hypnosis experience creates a highly receptive alpha state that works with the unconscious mind to help release tobacco's grip in your life.

This treatment program is not only an effective therapy for stopping smoking, it also provides you valuable guidance and strategies for effectively handling stress and tension to keep you from going back to smoking.

The average smoker spends close to $200 a month on cigarettes, that's $2,400 a year.

If this CD is for you, then get ready to transform you life with an effective treatment that has helped thousands of others regain their independence from cigarettes!

Within minutes of listening to this stop smoking therapy program, you can become a non-smoker, free and clear, for the rest of your life.

The only way to stop smoking is to stop the emotional addiction to nicotine along with the unconscious drive to smoke! This is where "Dr. Walton's Stopping Smoking" can help. This program can help you get off nicotine forever by eliminating the unconscious desire for cigarettes the first time you listen to it.

* Get immediate help. Every ounce of information contained in this hour-long CD program can help you harness the power of your own mind so you can stop smoking immediately. * Discover why so many others have tried and failed... and how you can better ensure your own victory. * Realize why some people gain weight when stopping smoking - and how to make sure you're not one of them. * Unlock 88% of your thought capacity that can be used to overcome addiction.

Customer Reviews:

Absolutely amazing!.......2006-01-07

I had smoked for over 15 years about 1 1/2 - 2 packs a day. I was definitely a binge smoker and smoked out of habit, boredom, nerves. Like the other poster, I literally listened to this CD ONE TIME as I was going to bed, and the next day, I didn't smoke one cigarette. When I got a craving, I'd take a deep breath and exhale slowly (like the suggestion on the CD) and by the end of the breath, I'd stop and realize the craving was gone. It was that easy. If you smoke and think that nothing will work for you, I can't recommend this CD highly enough. It's been over a month now, I've stopped listening to the CD, and I haven't smoked at all and in fact, I have lost weight (the CD also gives a suggestion/guidance about not gaining weight). Every once in a while, if I am really tempted or in a really stressful period, I'll pop in the CD at night and listen to it, as a booster. But this time, I really feel like I have stopped smoking for life!

Thank you, Dr. Walton!

only had one lesson.......2005-10-27

When I stopped smoking, I was at 10 cigarettes a day and on Zyban. I had been smoking for 7 years, and I spent most of that time trying to quit. Nothing worked for me.

I heard that hypnosis worked for some people, so I thought I would try this CD since it was one of the cheaper ones. I wasn't very motivated to quit. I wanted to see what hypnosis was like more than anything. But then I listened to the CD one evening and never touched a cigarette again. That was three months ago.

I can't say I never had a craving after that, but the stongest ones lasted less than a minute. It really helps to follow the directions and take breaks like normal, just instead of smoking, you're supposed to sip on some water. I find I'm reminded to breath a lot deeper then.

I highly recommend this CD to anyone whoes trying to quit.

Average customer rating:

Casals Festivals at Prades, Vol. 2

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Pablo Casals: Festivals at Prades Vol. 1
Pierre Monteux Decca & Philips Recordings, 1956-1964
Clfford Curzon: Decca Recordings 1944-1970, Vol. 4
Martha Argerich and Friends: Live from the Lugano Festival, 2006
Beethoven: String Quartets [Box Set]

ASIN: B000HIVGWQ
Release Date: 2006-09-05

That Devilin' Tune: A Jazz History, Volume 3 1934-1945

Average customer rating:

That Devilin' Tune: A Jazz History, Volume 3 1934-1945
Various Artists
Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

General | Compilations | Jazz | Styles | Music
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ASIN: B000JJSPEA
Release Date: 2006-11-21

Tracks:

Jimmie Lunceford - Chillun Get Up (Jan. 26, 1934)
Red Norvo - The Night Is Blue (Oct. 4, 1934)
Chick Webb - Let's Get Together (Jan. 5, 1934)
Ork. L(eonid) Utesova - U samovara y ya y maj Masha (At the Samovar With Masha) (1933-34)
Mezz Mezzrow - Sendin' the Vipers (May 7, 1934)
Casa Loma Orchestra - Linger Awhile (1934)
Jimmie Davis - Jelly Roll Blues (Sept. 24, 1934)
Hoagy Carmichael - Moon Country (1934)
Hal Kemp - Serenade to a Wealthy Widow (Sept. 14, 1934)
Howard Armstrong and Ted Bogan - State Street Rag (1934)
Benny Goodman - Bugle Call Rag (Aug. 16, 1934)
Smiley Burnette - Travelin' Man (May 29, 1934)
Mississippi Mud Steppers - Moonglow (1934)
Fletcher Henderson - Down South Camp Meeting (Sept. 12, 1934)
J. H. Bragg and His Rhythm Five - Frisky Honey (Aug. 28, 1935)
Farr Brothers - Riddle Rhythm (1935)
Louie Lasky - Caroline (April 2, 1935)
Ray Noble - Dinah (Oct. 9, 1935)
Ray Noble - Way Down Yonder in New Orleans (May 10, 1935)
Charlie LaVere - Smiles (April 5, 1935)
Willie Bryant - Throwing Stones at the Sun (Jan. 4, 1935)
Cleo Brown - Lookie, Lookie, Lookie . . . (March 12, 1935)
Teddy Wilson - Between the Devil . . . (Oct. 7, 1935)
Oliver Brown - I Ain't Got Nobody (July 28, 1935)
Albert Nicholas - Tap Room Special (Oct. 5, 1935)

Tracks:

Mississippi Mud Steppers - Moonglow (1934)
Bob Wills - Four or Five Times (Sept. 24, 1935)
Milt Brown - Sheik of Araby (March, 1936)
Milt Brown - Hesitation Blues (March, 1936)
Jimmy Revard - Triflin' Gal (Oct. 22, 1936)
Stuff Smith (Jonah Jones) - I Don't Want to Make History (March 3, 1936)
Valaida Snow - Until the Real Thing Comes Along (Sept. 6, 1936)
Don Albert - On the Sunny Side . . . (Nov. 18, 1936)
Original St. Louis Crackerjacks - Echo in the Dark (Oct. 16, 1936)
Ivy Anderson - Oh Baby Maybe Someday (Feb. 28, 1936)
Billy Mitchell - Two Old Maids (April 4, 1936)
Lil Hardaway/Old Ced Odom - Derby Town (Sept. 20, 1936)
Count Basie/Lester Young - Shoe Shine Boy (Oct. 8, 1936)
Bunny Berigan - Mama Don't Allow (Jan. 8, 1936)
Teddy Weatherford - My Blue Heaven (July 20, 1937)
Benny Goodman (Orchestra) - Swing Low Sweet Chariot (Jan. 9, 1937)
Count Basie (Orchestra) - John's Idea (July 7, 1937)
Berigan/Waller/Dorsey - Blues (March 30, 1937)
Danny Polo - More Than Somewhat (Oct. 1, 1937)
Mezz Mezzrow - Blues in Disguise (June 14, 1937)
Louis Armstrong - Alexander's Ragtime Band (July 7, 1937)
Louis Armstrong - Sun Showers (July 7, 1937)
Roy Eldridge - After You've Gone (Jan. 23, 1937)
Billy Kyle (Charlie Shavers) - Havin' a Ball (March 18, 1937)
Benny Goodman (Quartet) - Liza (1937)

Tracks:

Dicky Wells - Sweet Sue (July 7, 1937)
Roy Rodgers - My Little Lady (Hadie Brown) (Oct. 28, 1937)
Teddy Hill - Blue Rhythm Fantasy (May 15, 1937)
Bob Pope - When My Dreamboat Comes Home (April 11, 1937)
Boots and His Buddies - The Goo (Sept. 17, 1937)
Original Yellow Jackets - Swingin' at the Cat and Chew (May 5, 1937)
Charlie Christian - Tea For Two (Sept. 21, 1937)
Maxine Sullivan - Nice Work If You Can Get It (Sept. 21, 1937)
Duke Ellington - Diga Diga Doo (1937)
Django Reinhardt - Sweet Georgia Brown (Dec. 21, 1937)
Original Yellow Jackets - Business After Midnight (March 5, 1937)
Count Basie/Jimmy Rushing - Good Morning Blues (May 9, 1937)
Django Reinhardt - St. Louis Blues (Sept. 9, 1937)
Count Basie/Jimmy Rushing - The You and Me That Used to Be (June 30, 1937)
Bill Coleman/D. Reinhardt - Bill Coleman's Blues (Nov. 9, 1937)
Eddie South (D. Reinhardt) - Somebody Loves Me (Nov. 23, 1937)
Fred Astaire - Nice Work IfYou Can Get It (1937)
Harry James - Texas Chatter (Dec. 1, 1937)
Herald Goodman and His Tennessee Valley Boys - Banjo Rag (1937)
Tommy Dorsey and Clambake 7 - Stardust on the Moon (July 20, 1937)
Duke Ellington - Dimuendo in Blue (Sept. 20, 1937)
Bud Freeman - You Took Advantage of Me (Jan. 17, 1938)
Joe Marsala (B. Rich) - Jim Jam Stomp (1938)
Fats Waller - You Had An Evening to Spare (April 12, 1938)
Unidentified - Tiger Rag (ca. 1938)
Eddie Condon - Meet Me Tonight in Dreamland (April 20, 1938)

Tracks:

Roy Newman - Everybody's Tryin' to Be My Baby (Dec. 1, 1938)
Billie Holiday - The Very Thought of You (Sept. 15, 1938)
Georgia White - Daddy Let Me Lay It on You (Oct. 21, 1938)
Willie the Lion Smith - Passionette (Jan. 10, 1938)
Herman Chittison - I'm Putting All My Eggs in One Basket (June 13, 1938)
Andy Kirk - Mary's Idea (Dec. 6, 1938)
Lester Young & K.C. 6 - Way Down Yonder on New Orleans (Sept. 27, 1937)
Coleman Hawkins/Freddie Johnson - When Buddah Smiles (June 14, 1938)
Blind John Davis - Alley Woman Blues (May 19, 1938)
Light Crust Dough Boys - Pussy Pussy Pussy (Nov. 30, 1938)
Bob Wills - Liza Pull Down the Shades (1938)
Bob Dunn's Vagabonds - Stompin' at the Honky Tonk (1939)
Bob Crosby - Smoky Mary (Jan. 23, 1939)
Charlie Barnet - Scotch and Soda (Jan. 20, 1939)
Paul Byrd - Lollypop (ca. 1939)
Pete Brown - Ocean Motion (April 20, 1939)
John Kirby - From Ab to C (Oct. 28, 1938)
Al Cooper and the Savoy Sultans - When I Grow Too Old to Dream (Oct. 16, 1939)
Jelly Roll Morton - Winin' Boy Blues (Dec. 14, 1939)
Muggsy Spanier - Lonesome Road (Dec. 12, 1939)
Artie Shaw - Lady Be Good (May 27, 1939)
Nat Cole - Dixie Jamboree (Jan. 14, 1939)
Jack Teagarden - IAin't Lazy (I'm Just Dreamin') (1939)
Ziggy Elman - You Took Advantage of Me (Aug. 29, 1939)
Raymond Scott - Peter Tambourine (March 1, 1939)
Ella Fitzgerald - My Heart Belongs to Daddy (Feb. 17, 1939)

Tracks:

Lionel Hampton - High Society (April 13, 1939)
Frankie Newton - The Blues My Baby Gave Me (Jan. 13, 1939)
Oscar Aleman - Just A Little Swing (1939)
Slim Galliard - Chicken Rhythm (Sept. 15, 1939)
Red Nichols (Bobby Jones) - The Jumpin' Jive (Oct. 9, 1939)
Count Basie (trio) - Fare Thee Honey Fare Thee Well (Jan. 26, 1939)
Earl Hines (Orchestra) - Grand Terrace Shuffle (July 12, 1939)
Clarence Profit - Don't Leave Me (Feb. 15, 1939)
Baby Hines - I've Lost My Head Over You (March 1, 1939)
Alberta Hunter - Someday Sweetheart (Aug. 15, 1939)
James P. Johnson - If Dreams Come True (1939)
Buddy Jones - She's Sellin' What She Used to Give Away (1939)
Jack Jenney - Stardust (Oct. 19, 1939)
Skinny Ennis - Strange Enchantment (1939)
Jimmy McPartland - Sugar (Oct. 20, 1939)
Irving Fazola/Jess Stacy - Washington and Lee Swing (1939)
Eddie Condon - There'll Be Some Changes Made (Aug. 11, 1939)
Count Basie - Volcano (Nov. 6, 1939)
Glenn Miller - Pagan Love Song (June 27, 1939)
Bud Freeman - The Eel (July 19, 1939)
The Cats and The Fiddle - That's On Jack, That's On (Dec. 17, 1939)
Art Hodes/Rod Cless - Diga Diga Doo (Jan., 1940)
Snub Mosely - Old Man River (March, 1940)
Bob Crosby's Bobcats - Spain (Feb. 6, 1940)

Tracks:

Kid Rena - Milneburg Joys (Aug. 24, 1940)
Sidney Bechet - Save It Pretty Mama (Sept. 6, 1940)
Jelly Roll Morton - Sweet Substitute (Jan. 4, 1940)
Johnny Dodds - Gravier Street Blues (ca. 1940)
Coleman Hawkins/Roy Eldridge - I Surrender Dear (May 25, 1940)
Barney Bigard (Strayhorn) - Lament For Javanette (Nov., 1940)
Duke Ellington - Harlem Air Shaft (July 22, 1940)
Helen Forrest - I'd Be Lost Without You (May 10, 1940)
Benny Goodman (Orchestra) - Moonlight on the Ganges (Feb. 18, 1940)
Cliff Bruner - New Falling Down Blues (1940)
Jimmy Dorsey - Major and Minor Stomp (1940)
Horace Henderson - Chloe (May 8, 1940)
B. Goodman/L. Young/Basie/J. Jones/Christian/Clayton - I Never Knew (1940)
George Barnes - I'm Forever Blowing Bubbles (1940)
Miff Mole - A Good Man Is Hard to Find (excerpt) (1940)
Cab Calloway - Pickin' the Cabbage (March 8, 1940)
Mary Lou Williams - Baby Dear (Nov. 18, 1940)
Hot Lips Page - Lafayette (Nov. 1, 1940)
Eddie Durham - Moten Swing (Nov. 11, 1940)
Joe Turner (W.L. Smith) - Careless Love (Nov. 26, 1940)
Harlan Leonard - Contrasts (Jan. 11, 1940)
Jay McShann (C. Parker/B. Anderson) - Moten Swing (Nov. 3, 1940)
Jay McShann - Swingmatism (April 31, 1941)
Modern Mountaineers - Tryin' to Be True (April 7, 1941)

Tracks:

Thelonious Monk (excerpts) - Melancholy Baby/Rhythm Riff/Nice Work If You Can Get It (1941)
Dave Appollon - Stardust (1941)
Earl Hines (solo) - Melancholy Baby (April 3, 1941)
Benny Carter - Lullaby to a Dream (April 1, 1941)
Chu Berry - Blowin' Up a Breeze (Aug. 28, 1941)
Sam Donahue - Flo Flo (Nov. 12, 1941)
Delta Rhythm Boys - Georgia on My Mind (1941)
Donald Lambert - Anitra's Dance (1941)
Duke Ellington/Billy Strayhorn - Just a Sittin' and a Rockin' (June 5, 1941)
Pee Wee Russell - Jig Walk (March 25, 1941)
Claude Thornhill - Portrait of a Guinea Farm (April 16, 1941)
Fletcher Henderson - A Pixie From Dixie (1941)
Rex Stewart - Menelik (1941)
Artie Shaw - Suite 8 (1941)
Charlie Barnet - Nowhere (Jan. 27, 1941)
Lena Horne (C. Barnet) - Good for Nothin' Joe (Jan. 7, 1941)
Lucky Millinder - Apollo Jump (Sept. 5, 1941)
Lester Young - Benny's Bugle (Dec. 2, 1941)
Raymond Scott - When Cootie Left the Duke (Jan. 6, 1941)
Machito and His Afro Cubans - Nague (1941)
Tommy Dorsey - Loose Lid Special (Aug. 19, 1941)
Louis Jordan - What's the Use of Gettin' Sober . . . (July 21, 1942)
Helen Humes (P. Brown) - Mound Bayou (Feb. 9, 1942)

Tracks:

Duke Ellington (Strayhorn) - Johnny Come Lately (Feb. 26, 1942)
Frank Froeba - Sweet Lorraine (July, 1942)
Lil Green - If I Didn't Love You (Jan. 21, 1942)
Cassino Simpson - Tea For Two (May 17, 1942)
Claude Thornhill (Gil Evans) - Buster's Last Stand (June 19, 1942)
Charlie Parker - Cherokee (early 1942)
George Gershwin (Oscar Levant) - Concerto in F (1942)
Charlie Parker (E. Ware) - I Found a New Baby (ca. Sept., 1942)
Roy Eldridge - Stardust (Nov. 16, 1943)
Ella Mae Morse - Tess' Torch Song (Oct. 28, 1943)
Cliff Edwards - Singin' In The Rain (1943)
Charlie Parker/Dizzy Gillespie - Sweet Georgia Brown (1943)
Dizzy Gillespie - Night in Tunisia (1943)
Bobby Hackett/E. Caceres - Jada (June, 1944)
Harry Gibson - In A Mist (July 22, 1944)
Ben Webster/H.L. Page/Clyde Hart - Tea For Two (mid 1944)
Johnny Mercer - Sweet Lorraine (1944)
Jay McShann (Orchestra) - Wrap Your Troubles In Dreams (ca. March, 1944)
Eddie Rosner - St. Louis Blues (ca. 1944)
Miff Mole/Muggsy Spanier - Angry (April 15, 1944)
Buck Ram's All Stars - Twilight In Teheran (Sept. 18, 1944)
Benny Harris - Dee Dee's Dance (Dec. 19, 1944)
Boyd Raeburn (arr. Finckel) - Two Spoons In An Igloo (June 22, 1944)
Jimmy Dorsey (arr. Gillespie) - Grand Central Getaway (1944)

Tracks:

Nat Cole - Body and Soul (Jan. 17, 1944)
Nat Cole - What Is This Thing Called Love (Jan. 17, 1944)
Mary Lou Williams - Caravan (1944)
Mary Lou Williams - Stardust Part 2 (June 5, 1944)
Coleman Hawkins - Rainbow Mist (Feb. 22, 1944)
Coleman Hawkins (D. Gillespie) - Woody `n You (1944)
George Auld (Sonny Berman) - Short Circuit (Feb. 16, 1944)
Don Byas (R. Williams/C Shavers) - 1944 Stomp (March 28, 1944)
Cootie Williams (B. Powell) - Floogie Boo (Jan. 4, 1944)
Julia Lee (J.McShann) - Come on Over to My House (Nov. 1, 1944)
Jay McShann - On the Sunny Side of the Street (Nov. 1, 1944)
Billie Holiday - I Cover the Waterfront (March 25, 1944)
Duke Ellington - Black, Brown and Beige: Three Dances (Dec. 19, 1944)
Kid Ory (M. Carey, J. Noone) - Mutt's Blues (March, 1944)
Cecil Gant - I Wonder (1944)
Buddy and Ella Johnson - When My Man Comes Home (1944)
Al Duffy (Tony Mottola) - Light Calvary Overture (May 5, 1944)
Miss Rhapsody - Sugar (Nov. 21, 1944)
Alec Wilder - Footnotes to A Summer Love (1945)
Wooden Joe Nicholas - Up Jumped the Devil (May 17, 1945)
Bunk Johnson - Alexander's Ragtime Band (Nov. 21, 1945)
Bunk Johnson - You Always Hurt the One You Love (Nov. 21, 1945)
Pearl Bailey - Who (1945)

Product Description

From Allen Lowe. Incudeds, Benny Goodman, Count Basie, Harry James, Glen Miller, Artie Shaw and others. State-of-the-art digital restorations

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