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Album Savings: £19.39 compared to buying all songs
- Original Release Date: 17 May 1989
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Disc 1: | ||||||
| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 1. Palestrina - Musical legend in three acts - Prelude to Act I. Ruhig (Andante) | Symphonieorchester des Bayerischen Rundfunks | 6:04 | £0.79 | ||
| Play | 2. Palestrina - Musical legend in three acts / Act 1 - Schönste, ungnäd'ge Dame | Brigitte Fassbaender | 6:40 | £0.79 | ||
| Play | 3. Palestrina - Musical legend in three acts / Act 1 - Das kann mein Herz nicht so empfinden | Helen Donath | 5:41 | £0.79 | ||
| Play | 4. Palestrina - Musical legend in three acts / Act 1 - Ich wusste wohl, du würdest also reden | Helen Donath | 8:16 | £0.79 | ||
| Play | 5. Palestrina - Musical legend in three acts / Act 1 - Schönste, ungnäd'ge Dame | Brigitte Fassbaender | 1:10 | £0.79 | ||
| Play | 6. Palestrina - Musical legend in three acts / Act 1 - Schönste, ungnäd'ge Dame | Brigitte Fassbaender | 1:37 | £0.79 | ||
| Play | 7. Palestrina - Musical legend in three acts / Act 1 - Das ist die neue Zeit, die in ihm gärt | Nicolai Gedda | 1:25 | £0.79 | ||
| Play | 8. Palestrina - Musical legend in three acts / Act 1 - Die Kunst der Meister vieler hundert Jahre | Nicolai Gedda | 2:21 | £0.79 | ||
| Play | 9. Palestrina - Musical legend in three acts / Act 1 - Und Ihr wollt's so ruhig gehen lassen | Dietrich Fischer-Dieskau | 14:42 | £1.89 | ||
| Play | 10. Palestrina - Musical legend in three acts / Act 1 - Wie schön ist, was Ihr sagt | Nicolai Gedda | 8:54 | £0.79 | ||
| Play | 11. Palestrina - Musical legend in three acts / Act 1 - Der letzte Freund, der mir noch wohlgesinnt | Nicolai Gedda | 8:55 | £0.79 | ||
| Play | 12. Palestrina - Musical legend in three acts / Act 1 - Für Ihn. Sein Wesen will's | John van Kesteren | 7:53 | £0.79 | ||
| Disc 2: | ||||||
| Song Title | Artist | Time | Price | |||
| Play | 1. Palestrina - Musical legend in three acts / Act 1 - Nicht ich, nicht ich, schwach bin ich, voller Fehler | Nicolai Gedda | 13:45 | £1.89 | ||
| Play | 2. Palestrina - Musical legend in three acts / Act 1 - Allein in dunkler Tiefe | Nicolai Gedda | 3:45 | £0.79 | ||
| Play | 3. Palestrina - Musical legend in three acts / Act 1 - Nah war ich dir in Nöten des Lebens | Renate Freyer | 5:46 | £0.79 | ||
| Play | 4. Palestrina - Musical legend in three acts / Act 1 - Ighino, sieh doch, komm herein! | Brigitte Fassbaender | 2:53 | £0.79 | ||
| Play | 5. Palestrina - Musical legend in three acts - Prelude to Act II. Mit Wucht und Wildheit | Symphonieorchester des Bayerischen Rundfunks | 5:48 | £0.79 | ||
| Play | 6. Palestrina - Musical legend in three acts / Act 2 - Noch eine Bank! Und schnell! | Gerd Nienstedt | 3:48 | £0.79 | ||
| Play | 7. Palestrina - Musical legend in three acts / Act 2 - Morone ist von Innsbruck schon herein? | Heribert Steinbach | 4:55 | £0.79 | ||
| Play | 8. Palestrina - Musical legend in three acts / Act 2 - Ein liebreich würd'ger Herr | Dietrich Fischer-Dieskau | 5:14 | £0.79 | ||
| Play | 9. Palestrina - Musical legend in three acts / Act 2 - So wird, was in den letzten Wochen | Dietrich Fischer-Dieskau | 7:58 | £0.79 | ||
| Play | 10. Palestrina - Musical legend in three acts / Act 2 - Zahlreich wird heut' die heilige Versammlung sein | Victor von Halem | 4:19 | £0.79 | ||
| Play | 11. Palestrina - Musical legend in three acts / Act 2 - Die Italiener dort seht! | Hermann Prey | 2:08 | £0.79 | ||
| Play | 12. Palestrina - Musical legend in three acts / Act 2 - Geliebte Brüder, seid gegrüsst im Herrn! | Friedrich Lenz | 3:06 | £0.79 | ||
| Play | 13. Palestrina - Musical legend in three acts / Act 2 - Von weither wandert' ich | John van Kesteren | 2:51 | £0.79 | ||
| Play | 14. Palestrina - Musical legend in three acts / Act 2 - Ich, Ercole Severolus, Zeremonienmeister der Synode | Gerd Nienstedt | 2:01 | £0.79 | ||
| Play | 15. Palestrina - Musical legend in three acts / Act 2 - Interlude - "Und nun erhebt sich zur Begrüssung" | Gerd Nienstedt | 3:02 | £0.79 | ||
| Disc 3: | ||||||
| Song Title | Artist | Time | Price | |||
| Play | 1. Palestrina - Musical legend in three acts / Act 2 - Den Heil'gen Geist, der die Konzilien leitet | Bernd Weikl | 9:33 | £0.79 | ||
| Play | 2. Palestrina - Musical legend in three acts / Act 2 - Ihr wisst, von des Kaisers Propositionen | Bernd Weikl | 4:26 | £0.79 | ||
| Play | 3. Palestrina - Musical legend in three acts / Act 2 - Darf ich die Frage stellen,warum nicht nach der Reih | Peter Meven | 7:04 | £0.79 | ||
| Play | 4. Palestrina - Musical legend in three acts / Act 2 - In der Verfassung des Gemüts | Bernd Weikl | 2:35 | £0.79 | ||
| Play | 5. Palestrina - Musical legend in three acts / Act 2 - Was nun! Was nun! Glaubt Ihr noch dran | Bernd Weikl | 2:15 | £0.79 | ||
| Play | 6. Palestrina - Musical legend in three acts / Act 2 - Habt ihr's gesehen? | Karl Ridderbusch | 2:33 | £0.79 | ||
| Play | 7. Palestrina - Musical legend in three acts / Act 3 - Prelude | Symphonieorchester des Bayerischen Rundfunks | 5:12 | £0.79 | ||
| Play | 8. Palestrina - Musical legend in three acts / Act 3 - Wie lange sie bleiben | Peter Schranner | 5:20 | £0.79 | ||
| Play | 9. Palestrina - Musical legend in three acts / Act 3 - Als sie dich griffen und banden | Helen Donath | 4:01 | £0.79 | ||
| Play | 10. Palestrina - Musical legend in three acts / Act 3 - Evviva Palestrina, der Retter der Musik! | Symphonieorchester des Bayerischen Rundfunks | 1:52 | £0.79 | ||
| Play | 11. Palestrina - Musical legend in three acts / Act 3 - Wie einst im himmlischen Zion | Karl Ridderbusch | 3:56 | £0.79 | ||
| Play | 12. Palestrina - Musical legend in three acts / Act 3 - Die Messe - ach, der Messe süsses Licht | Dietrich Fischer-Dieskau | 3:22 | £0.79 | ||
| Play | 13. Palestrina - Musical legend in three acts / Act 3 - O Vater, wirst du nun auch wieder froh? | Helen Donath | 3:00 | £0.79 | ||
| Play | 14. Palestrina - Musical legend in three acts / Act 3 - Evviva Palestrina, der Retter der Musik! | Helen Donath | 2:25 | £0.79 | ||
| Play | 15. Palestrina - Musical legend in three acts / Act 3 - Nun schmiede mich, den letzten Stein | Nicolai Gedda | 2:25 | £0.79 | ||
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Customer Reviews
Most Helpful Customer Reviews
13 of 14 people found the following review helpful
Format:Audio CD
Palestrina was an opera that fascinated me long before I heard it. From all I'd read, it seemed to be one of a select group of operas, dealing with the actual process of artistic creation (Benvenuto Cellini, Die Meistersinger, Mathis der Mahler, Death in Venice to name but a few). Someone, after a performance of Parsifal in Bayreuth, once also described it to me as 'Parsifal without the jokes' - a phrase attributed to several pieces and not true in this case as there are quite a lot of jokes, albeit German jokes, in Act 2. The music, I was told, purported to be post-Wagnerian conservative but well made. The Preludes to all three acts I heard fairly early on and they whetted my appetite even more - Parsifalian simplicity in the first, thrilling energy in the second and sublime resignation in the third.
Then this Kubelik recording came along and I found all my hopes and expectations matched or bettered. Yes, it is dramatically flawed - the scene between Borromeo and Palestrina in the First Act is too long and Act 2 is dramatically very far removed from the two outer acts, brimming over with characters none of whom, apart from a brief appearance by Borromeo, appear in the other two acts. Act 3 is proportionally very short. Nevertheless, it does hang together in its own way (witness the Covent Garden production of a few years ago). And musically it is a profound experience.
Pfitzner was not necessarily a very likeable man: his politics came a lot closer to the Nazis than either Richard Strauss's or Furtwangler's, for example - probably closer to Karajan's. And his music was also pretty conservative (with a small 'c') - not so far from Strauss, closer still to Reger though much more interesting. Indeed he felt himself on something of a mission to preserve the Great Tradition of High German Art - Sachs's Heil'ge Deutsches Kunst if you like. But within the confines that he set himself, he wrote some really wonderful stuff. Late Romantic harmonies (nothing too frightening) with some superb melodic invention gives you an idea of the style. The whole sequence in which Palestrina writes his great polyphony-saving Mass, inspired by visions of his dead wife and angels (yes, I know it sounds mawkish, but it works) is superb. Pfitzner handles a huge cast of soloists in Act 2 with superb dexterity and energy as discussions descend to rows to battles and finally to a riot that is ruthlessly put down. The very end of the opera is inspired. Left alone in his moment of triumph by Pope and Cardinal, son and pupil and by the cheering crowds in the street, the old composer's hands begin to improvise on the keyboard of his organ - fade to silence and to black. This is great opera and deserves to be better known.
And, in this recording, all the performers play it as if they believe exactly that. The supremely versatile Gedda sings the title-role with all the fervour, the passion and ultimately the resignation that it demands. The other substantial part, Cardinal Borromeo, is taken by the ubiquitous Fischer-Dieskau and he gives one of his great performances; obstinate, angry, dangerous, sympathetic by turns as the score and the text demand. That long solo in Act 1 that can easily outstay its welcome: here it is completely involving and dramatic. The numerous clergy and politicians at the Council of Trent in Act 2 are cast with real strength throughout. And Kubelik's conducting is masterful, allowing the score to breathe and take its time without ever getting stagnant and giving real drive and energy to the more urgent pages.
If you have anything of a taste for German romantic opera, if you enjoy Strauss's operas for example, I do urge you to try Pfitzner's masterpiece.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
2 reviews
42 of 43 people found the following review helpful
Underrated opera: great performance
17 Aug 2005
Format:Audio CD
Palestrina was an opera that fascinated me long before I heard it. From all I'd read, it seemed to be one of a select group of operas, dealing with the actual process of artistic creation (Benvenuto Cellini, Die Meistersinger, Mathis der Mahler, Death in Venice to name but a few). Someone, after a performance of Parsifal in Bayreuth, once also described it to me as 'Parsifal without the jokes' - a phrase attributed to several pieces and not true in this case as there are quite a lot of jokes, albeit German jokes, in Act 2. The music, I was told, purported to be post-Wagnerian conservative but well made. The Preludes to all three acts I heard fairly early on and they whetted my appetite even more - Parsifalian simplicity in the first, thrilling energy in the second and sublime resignation in the third.
Then this Kubelik recording came along and I found all my hopes and expectations matched or bettered. Yes, it is dramatically flawed - the scene between Borromeo and Palestrina in the First Act is too long and Act 2 is dramatically very far removed from the two outer acts, brimming over with characters none of whom, apart from a brief appearance by Borromeo, appear in the other two acts. Act 3 is proportionally very short. Nevertheless, it does hang together in its own way (witness the Covent Garden production of a few years ago). And musically it is a profound experience.
Pfitzner was not necessarily a very likeable man: his politics came a lot closer to the Nazis than either Richard Strauss's or Furtwangler's, for example - probably closer to Karajan's. And his music was also pretty conservative (with a small 'c') - not so far from Strauss, closer still to Reger though much more interesting. Indeed he felt himself on something of a mission to preserve the Great Tradition of High German Art - Sachs's Heil'ge Deutsches Kunst if you like. But within the confines that he set himself, he wrote some really wonderful stuff. Late Romantic harmonies (nothing too frightening) with some superb melodic invention gives you an idea of the style. The whole sequence in which Palestrina writes his great polyphony-saving Mass, inspired by visions of his dead wife and angels (yes, I know it sounds mawkish, but it works) is superb. Pfitzner handles a huge cast of soloists in Act 2 with superb dexterity and energy as discussions descend to rows to battles and finally to a riot that is ruthlessly put down. The very end of the opera is inspired. Left alone in his moment of triumph by Pope and Cardinal, son and pupil and by the cheering crowds in the street, the old composer's hands begin to improvise on the keyboard of his organ - fade to silence and to black. This is great opera and deserves to be better known.
And, in this recording, all the performers play it as if they believe exactly that. The supremely versatile Gedda sings the title-role with all the fervour, the passion and ultimately the resignation that it demands. The other substantial part, Cardinal Borromeo, is taken by the ubiquitous Fischer-Dieskau and he gives one of his great performances; obstinate, angry, dangerous, sympathetic by turns as the score and the text demand. That long solo in Act 1 that can easily outstay its welcome: here it is completely involving and dramatic. The numerous clergy and politicians at the Council of Trent in Act 2 are cast with real strength throughout. And Kubelik's conducting is masterful, allowing the score to breathe and take its time without ever getting stagnant and giving real drive and energy to the more urgent pages.
If you have anything of a taste for German romantic opera, if you enjoy Strauss's operas for example, I do urge you to try Pfitzner's masterpiece.
Then this Kubelik recording came along and I found all my hopes and expectations matched or bettered. Yes, it is dramatically flawed - the scene between Borromeo and Palestrina in the First Act is too long and Act 2 is dramatically very far removed from the two outer acts, brimming over with characters none of whom, apart from a brief appearance by Borromeo, appear in the other two acts. Act 3 is proportionally very short. Nevertheless, it does hang together in its own way (witness the Covent Garden production of a few years ago). And musically it is a profound experience.
Pfitzner was not necessarily a very likeable man: his politics came a lot closer to the Nazis than either Richard Strauss's or Furtwangler's, for example - probably closer to Karajan's. And his music was also pretty conservative (with a small 'c') - not so far from Strauss, closer still to Reger though much more interesting. Indeed he felt himself on something of a mission to preserve the Great Tradition of High German Art - Sachs's Heil'ge Deutsches Kunst if you like. But within the confines that he set himself, he wrote some really wonderful stuff. Late Romantic harmonies (nothing too frightening) with some superb melodic invention gives you an idea of the style. The whole sequence in which Palestrina writes his great polyphony-saving Mass, inspired by visions of his dead wife and angels (yes, I know it sounds mawkish, but it works) is superb. Pfitzner handles a huge cast of soloists in Act 2 with superb dexterity and energy as discussions descend to rows to battles and finally to a riot that is ruthlessly put down. The very end of the opera is inspired. Left alone in his moment of triumph by Pope and Cardinal, son and pupil and by the cheering crowds in the street, the old composer's hands begin to improvise on the keyboard of his organ - fade to silence and to black. This is great opera and deserves to be better known.
And, in this recording, all the performers play it as if they believe exactly that. The supremely versatile Gedda sings the title-role with all the fervour, the passion and ultimately the resignation that it demands. The other substantial part, Cardinal Borromeo, is taken by the ubiquitous Fischer-Dieskau and he gives one of his great performances; obstinate, angry, dangerous, sympathetic by turns as the score and the text demand. That long solo in Act 1 that can easily outstay its welcome: here it is completely involving and dramatic. The numerous clergy and politicians at the Council of Trent in Act 2 are cast with real strength throughout. And Kubelik's conducting is masterful, allowing the score to breathe and take its time without ever getting stagnant and giving real drive and energy to the more urgent pages.
If you have anything of a taste for German romantic opera, if you enjoy Strauss's operas for example, I do urge you to try Pfitzner's masterpiece.
13 of 26 people found the following review helpful
An inadequate work given with great conviction
7 Jan 2007
Format:Audio CD
The review below is civilized and tolerant almost to a fault. I, too, anticipated something rare and fascinating from Pfitzner's masterpiece, which has a strong stage history in Germany but almost zero in the U.S. But in my case the expectations weren't fulfilled--this is ultra-conservative music that shows not the slightest influence of the twentieth centruy. The idiom resembles seamless, uninspired movie music, assuming the movie in question has almost no action and endless duets and monologues on arcane subjects of interest only to Jesuits and historicans of the Vatican's dicta on church music.
That said, the performance is a knockout. This could well be Fischer-Dieskau's most impressive opera portrayal (he had a habit of excelling in oddball operas--see Mathis der Maler); Gedda, fasbaender, and the rest of the cast sing with equal conviction. Kubelik is close to an ideal conductor. And yet there really is no drama here for the listener who can't see the stage. Maybe that's the secret of Palestrina--it needs a stage production to capture the eye. That's true of Die Frau ohne Schatten, Die Tote Stadt, and other operas that are congested and over-composed--they must come alive visually to reveal their potential.
That said, the performance is a knockout. This could well be Fischer-Dieskau's most impressive opera portrayal (he had a habit of excelling in oddball operas--see Mathis der Maler); Gedda, fasbaender, and the rest of the cast sing with equal conviction. Kubelik is close to an ideal conductor. And yet there really is no drama here for the listener who can't see the stage. Maybe that's the secret of Palestrina--it needs a stage production to capture the eye. That's true of Die Frau ohne Schatten, Die Tote Stadt, and other operas that are congested and over-composed--they must come alive visually to reveal their potential.
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