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Berlioz: Requiem, Op.5; Le Carnaval romain, Op.9; La Damnation de Faust, Op.24 / Rouget de Lisle: La Marseillaise

Berlioz: Requiem, Op.5; Le Carnaval romain, Op.9; La Damnation de Faust, Op.24 / Rouget de Lisle: La Marseillaise

1 Jan 1993
2.0 out of 5 stars 1 customer review

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1
12:36
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2
13:31
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3
2:59
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4
6:29
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5
5:10
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6
10:15
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Disc 2
1
11:06
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2
4:01
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3
10:12
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4
13:28
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5
8:30
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6
4:55
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7
4:11
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Product details

  • Original Release Date: 1 Jan. 1993
  • Release Date: 31 Jan. 2011
  • Number of Discs: 2
  • Label: Decca (UMO)
  • Copyright: ℗© 1993 Deutsche Grammophon GmbH, Hamburg
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:47:23
  • Genres:
  • ASIN: B004LQMIJU
  • Average Customer Review: 2.0 out of 5 stars 1 customer review
  • Amazon Bestsellers Rank: 301,475 in Albums (See Top 100 in Albums)
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Format: Audio CD
In these Shadowlands of ours, copies are the rule. Archetypes dwell in a platonic realm of pure being. Along these lines, with so many sausages in circulation, it’s time to identity Barenboim’s Holy Sausage – the most concert-grade, good-enough-on-the-night endeavour from the man who gives Abe Froman a run for his money. This is easier said than done. With a discography that stretches from Bach to Berg, where does one start? My own limitations come into play too; for instance, I suspect that his Tchaikovsky Fifth with the Chicago Symphony Orchestra is a massive sausage. As the T5 means nothing to me, it comes not into calculation. I’ve already reviewed his infamous “Beethoven for All” with a substandard orchestra: it features in this quest. To that list, one adds his Ramallah Concert (K 297b), his Bruckner 2, 6 & 8 with the Berlin Philharmonic, any operatic recording of Mozart, most of his Wagner, his Chopin Nocturnes, his Paris Symphonies . . . . infinity beckons at this point so stop we must.

Beware imitations! What denotes a genuine Barenboim sausage?
Mere competency.
Adherence to the mean –with no individuality in play.
No great thought – as if the performance in question is a glorified sight-read.
A lack of subsequent 20-bit plus remastering (wisdom comes at last to the recording companies in their cupidity).

DB made some of his most sausage-like recordings with the Orchestra de Paris. Chief among them is his Berlioz Requiem from 1981. No wonder it’s lurks in the back-catalogue like a half-dead tarantula. The crudity of the brass fanfares throughout and its lack of Innigkeit testify that a sausage is in frame - how it sizzles away on the grill!
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