Amazon.co.uk allows you to pay for your items in your local currency. Restrictions apply. Learn More. |
Frequently Bought Together
Product details
|
Track Listings
| 1. "Concerto No. 4 in G Major for Piano and Orchestra, Op. 58" |
| 2. "Concerto No. 5 in E-flat Major for Piano and Orchestra, Op. 73 ""Emperor""" |
| 3. I. Allegro moderato |
| 4. II. Andante con moto |
| 5. III. Rondo vivace |
| 6. I. Allegro |
| 7. II. Adagio un poco moto |
| 8. III. Rondo: Allegro |
| 9. "Concerto for Violin and Orchestra, Op. 14" |
| 10. "Concerto for Cello and Orchestra, Op. 22" |
| 11. "Concerto for Piano and Orchestra, Op. 38" |
| 12. I. Allegro |
| 13. II. Andante |
| 14. III. Presto in moto |
| 15. I. Allegro moderato |
| 16. II. Andante sostenuto |
| 17. III. Molto allegro e appassionato |
| 18. I. Allegro appasionato |
| 19. II. Canzone: Moderato |
| 20. III. Allegro molto |
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Customer Reviews
Most Helpful Customer Reviews
44 of 45 people found the following review helpful
Format:Audio CD
Barber is a composer who unfortunately is seen by the majority of people to have one hit - Everybody has heard the "Adagio for strings" but little else, in my experience. Having heard a recording of one of the movements of the violin concerto - I hurried to by the CD - and this is the one I came across. Luckily for me - the CD not only contained the violin concerto - but also the piano and cello. Barber is a composer who has mystified many people - being a man who kept to no singular style and wrote as if composing in several different periods. The violin concerto is mesmerizing for the most part - with the first two movements contrasting cleverly with the third - and if you have enjoyed the violin concerto you'll be sure to enjoy the piano and cello as well. At a bargain price from Amazon - you can't go wrong.
14 of 14 people found the following review helpful
Format:Audio CD
There are two major label releases with the Samuel Barber concertos currently on offer: this eclectic collection and the RCA release with Leonard Slatkin and the Saint Louis Symphony accompanying Kyoko Takezawa, Steven Isserlis and John Browning. This compact disc offers advantages in the performances of each of the concertos.
The Stern/Bernstein/New York Philharmonic collaboration is a richly realized performance, fully consonant with Barber's blend of Late Romanticism and modern music. Bernstein encountered the Violin Concerto when it was a work-in-progress at the Curtis Institute of Music, where Bernstein was a student and Barber was on the faculty. (Bernstein's mentor, Fritz Reiner, conducted the early performances of the Concerto at Curtis.) Bernstein was often at his best conducting twentieth-century music; his conducting here perfectly complements Stern's appropriately mercurial performance--now sweet, now steely. There is simply no comparison between this and the Takezawa/Slatkin version: Takezawa/Slatkin is nicely done; Stern/Bernstein is a gripping idiomatic performance.
Yo-Yo Ma and David Zinman give a smashing performance of the Cello Concerto, one of the best things Ma has recorded. Ma nimbly makes the tricky passages of the Concerto sing, while Zinman and the Baltimore Symphony Orchestra expertly frame his work. As good as Stephen Isserlis is on the Slatkin version, Ma handily takes the prize here.
John Browning "owned" the Barber Piano Concerto: it was written for him, he premiered it, and he made it famous with this recording with George Szell and the Cleveland Orchestra. This performance, recorded after a tour with the Cleveland Orchestra, is a fleeter, livelier, more focused account than Browning's remake with Leonard Slatkin and the Saint Louis Symphony some twenty-five years later.
The brightness of the mid-1960s Columbia Records sound in the Violin Concerto and the Piano Concerto has been softened somewhat in this remastering without any loss of clarity. The late-1980s digital sound in the Cello Concerto is on the airy side. You will have to turn up the volume a bit to keep the cello fully present.
Barber was a composer who didn't have much regard for mid-twentieth century trends in music: he continued in his aesthetic path of basically harmonic, often ravishingly beautiful music-making. Because he followed this path, he was out of favor in some circles for long stretches of time. With the abating of some of the passions of certain culture wars, Barber's music has come to be appreciated and enjoyed by a large audience again. This disc is an excellent way to be acquainted with Barber's music, or to savor three of the finest recordings of Barber's music that have ever been done. A basic "can't miss," "must have" selection.
Note to Sony: Why isn't this available in the United States?
The Stern/Bernstein/New York Philharmonic collaboration is a richly realized performance, fully consonant with Barber's blend of Late Romanticism and modern music. Bernstein encountered the Violin Concerto when it was a work-in-progress at the Curtis Institute of Music, where Bernstein was a student and Barber was on the faculty. (Bernstein's mentor, Fritz Reiner, conducted the early performances of the Concerto at Curtis.) Bernstein was often at his best conducting twentieth-century music; his conducting here perfectly complements Stern's appropriately mercurial performance--now sweet, now steely. There is simply no comparison between this and the Takezawa/Slatkin version: Takezawa/Slatkin is nicely done; Stern/Bernstein is a gripping idiomatic performance.
Yo-Yo Ma and David Zinman give a smashing performance of the Cello Concerto, one of the best things Ma has recorded. Ma nimbly makes the tricky passages of the Concerto sing, while Zinman and the Baltimore Symphony Orchestra expertly frame his work. As good as Stephen Isserlis is on the Slatkin version, Ma handily takes the prize here.
John Browning "owned" the Barber Piano Concerto: it was written for him, he premiered it, and he made it famous with this recording with George Szell and the Cleveland Orchestra. This performance, recorded after a tour with the Cleveland Orchestra, is a fleeter, livelier, more focused account than Browning's remake with Leonard Slatkin and the Saint Louis Symphony some twenty-five years later.
The brightness of the mid-1960s Columbia Records sound in the Violin Concerto and the Piano Concerto has been softened somewhat in this remastering without any loss of clarity. The late-1980s digital sound in the Cello Concerto is on the airy side. You will have to turn up the volume a bit to keep the cello fully present.
Barber was a composer who didn't have much regard for mid-twentieth century trends in music: he continued in his aesthetic path of basically harmonic, often ravishingly beautiful music-making. Because he followed this path, he was out of favor in some circles for long stretches of time. With the abating of some of the passions of certain culture wars, Barber's music has come to be appreciated and enjoyed by a large audience again. This disc is an excellent way to be acquainted with Barber's music, or to savor three of the finest recordings of Barber's music that have ever been done. A basic "can't miss," "must have" selection.
Note to Sony: Why isn't this available in the United States?
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
What Other Items Do Customers Buy After Viewing This Item?
Listmania!
Feedback
- Would you like to update product info or give feedback on images?
|
