L'Oiseau-Lyre - Classical & Romantic

I love everything I have ever listened to by the Academy of Ancient Music. This box set is a welcomed addition to their Baroque box set I purchased previously, and I can not understate how rich and moving these works are. Since they are performed on period instruments in original tunings, each work has a freshness and authenticity that makes it seem like it is the first time they have ever been played....like I'm listening to music through a time machine to something that happened in the 18th Century! I'm so glad I came across these recordings.

While the DG Arkiv and previous L'Oiseau-Lyre original instrument sets focused on what I would call "true" Early Music (ie., mostly Baroque, Vivaldi, etc), this one is focused more on the later, early Romantic era (eg,Haydn, Mozar etc ). That makes it a bit different and less potentially duplicative of these other sets, which you may already own. Many, if not of these performances are pre-DDD, and I like the analog sound very much. Stirring performances, needless to say, from Hogwood et al.

Great collection. But I do not appreciate paying $115.00 for the set only to notice that the price dropped to $100.47 upon receiving the package 3 days later. So much for competitive pricing! Not appreciated at all!

Fine set. Well delivered

A wonderful collection, well produced and beautifully performed.Highly recommended.

Fantastic set. Well worth twice the money.

Over the past few years, I've bought more of these classical "big box" CD sets than I like to admit. There aren't enough hours in the day to listen carefully to everything... and I'm running out of places to hide them from the wife... still, I can't resist them! After years of building my classical LP collection, I wasn't keen to spend $15 a disc upgrading to CD in the '80s and '90s; but with so many musical treasures issuing from the major labels in these attractive boxes at prices of between $1 and $2 a disc, it isn't worth my time to digitize my LPs myself. A side benefit is that I'm discovering so much in the process that's new (and wonderful) to me: new repertoire and new performances. I hesitated before buying this set since many of the works are well-established "war horses" of the genre, and for most I already have multiple performances that I like. Many of the performances here are new to me; somehow, despite L'Oiseau-Lyre's excellent reputation, I never acquired many of the LPs. Clearly, I didn't know what I was missing! So far, this set is yielding gem after gem.The set is heavy on Haydn, Mozart, and Beethoven, mostly recorded on period instruments (or replicas) under the direction of Christopher Hogwood. The recordings date largely from the 1970s and 1980s. As symphony orchestras have grown larger over the last two centuries, it's refreshing to hear these works played by smaller ensembles that are perhaps more historically appropriate. Alan Hacker's "Music Party" ensemble performance of Mozart's "Eine kleine Nachtmusik" features fewer than a dozen musicians (to my ears, it sounds like only five or six). Hacker takes the serenade at a relaxed tempo, nevertheless the performance exudes a life and vitality unmatched by Reiner, Davis, or nearly any other recording I've heard. The recording is warm, robust, and sparklingly clear -- in a word, sumptuous. Some may be put off by the rhythmic "looseness," but to my ears, it serves the music well, re-acquainting my ears with the fresh beauty of Mozart's melodies long after other performances had rendered them stale. The same goes for performances of overplayed works like Mozart's 40th Symphony and Haydn's 94th (among many others here). On the whole, these are sensitive readings that may strike some as *too* romantic, but I love them.Some of the recordings on period instruments (such as Andras Schiff's disc of Mozart Piano Sonatas and Rondos) suffer a bit from less-than-ideal acoustics (being on-location recordings made in museums), but this isn't a major problem. However, if I can pick on the Schiff disc for a moment, some audible squeaks -- or the "residue" of digitally-removed squeaks -- perhaps emanating from the instrument itself -- can be moderately distracting. The performances are fine.Like most of these "big box" collections, the discs are packaged in attractive "original jacket" sleeves housed in a sturdy, space-efficient cube with a flip-top lid. Like other Decca/Universal sets, the booklet that accompanies this set mixes black-and-white photos of the principal performers with complete track lists and recording details for the individual CDs. The essay on the history of the L'Oiseau-Lyre label provided enjoyable and informative reading. I would have gladly paid a few extra dollars for this set if the producers could have found a way to include all original liner notes -- either in the booklet or even in microprint on the backs of the CD sleeves. (After all, what are magnifying glasses for?) Sony's big box sets (RCA and Columbia) generally include original liner notes at a similar price point, and I enjoy reading those. Still, I suppose the music is what counts, and this box is filled with some wonderful recordings. As a bonus, roughly a third of the contents are new to CD.The booklet says that a box devoted to Medieval and Renaissance music from L'Oiseau-Lyre is forthcoming. Life is good!

This is a large load of familiar and less familiar works performed by great period ensembles. Several genres are represented and there’s a book with lots of information about each CD. Do the maths. It’s a bargain.

Livraison rapide. Produit en bon état.

Ecco un altro bellissimo cofanetto "piacione" come si dice a Roma, ma in accezione completamente positiva. Infatti non può non piacere (e tanto!) questa raccolta di 50 CD, ciascuno con la copertina originale della prima uscita, a tutti gli appassionati di musica classica che da tempo cercavano le straordinarie interpretazioni di Hogwood o di alcuni piccoli ensemble da camera con strumenti originali come l'Esterhazy Quartet, tutte uscite negli anni '80 sotto la mitica etichetta Oiseau Lyre, e da molti anni completamente scomparse dal mercato e divenute introvabili.Ho citato Hogwood perché é stato il direttore di punta della casa discografica francese (ma fin dalla fine anni '70 l'Oiseau Lyre era già stata acquisita dalla Decca per farne la "sua etichetta" della musica barocca eseguita con criteri filologici) e in quella manciata di anni, una quindicina, ha inciso una quantità di dischi da far concorrenza a Karajan! E sebbene Hogwood era "nato come filologo e clavicembalista" con un repertorio abbastanza centrato sulla musica barocca, assai presto iniziò a fare "incursioni" sul terreno dei grandi classici, come Mozart, Beethoven e Haydn. Esecuzioni che fin da subito fecero "scalpore" per la novità dell'approccio, filologico certo, ma con molte libertà esecutive che rendevano queste musiche arcinote come se fossero nuove di zecca.E se in Mozart sinfonico forse questa operazione non riuscì al 100%, nel Mozart concertistico i risultati furono sublimi. È così in tutti i grandi classici "toccati dalla bacchetta di Hogwood". Si noti che in questo cofanetto sono contenuti solo tre o quattro CD già usciti in altri cofanetti (le sinfonie di Mozart, di Beethoven e di Haydn) proprio perché il grosso dei CD é dedicato alla musica concertistica e da camera, con CD divenuti come dicevo sopra rari e introvabili. Come le sonate complete di Beethoven eseguite al forte piano da Malcom Binns (peraltro prima pubblicate prima dalla Decca, così come altri numerosi CD del cofanetto, vere e proprie primizie!!), che meritano un ascolto approfondito per il sapore nuovo, ma antico, che assumono quelle splendide creazioni della mente di un genio assoluto.Ma di rilievo anche la presenza in questo box di Opere liriche complete e di Musica Sacra, di Haydn e di Mozart, con interpreti di eccezione quali la nostra Cecilia Bartoli, Arleen Auger, il direttore Arnold 'stman e...compagnia cantando!Nei concerti si alternano solisti di caratura straordinaria, quali Robert Levin già citato per il fortepiano, o Cristopher Coin al violoncello nei concerti di Haydn per violoncello e orchestra (rimasti a tutt'oggi una pietra miliare nella discografia di queste opere). Più sotto riporto la lista completa dei CD contenuti nel box, cosa che penso possa essere utile ad altri appassionati.La tecnica di incisione, quasi sempre in digitale nativo DDD (con alcune eccezioni in ADD) é sempre molto bella (i CD della Oiseau Lyre venivano usati nelle dimostrazioni di impianti Hi-Fi milionari). Il prezzo é assai invitante.....quasi irresistibile (e infatti io non ho resistito e ho acquistato il cofanetto...:)).Buon ascolto a tutte e tutti voi...Contenuti del Box:CD 1 - Stamitz: 3 Symphonien; KlarinettenkonzertCD 2 - Boccherini: Symphonien G. 506, 512, 519CD 3 - Haydn: Cellokonzerte Nr. 1 & 2CD 4 - Haydn: Symphonien Nr. 94 & 96CD 5 - Haydn: Symphonien Nr. 100 & 104CD 6 - Haydn: Arianna a Naxos; BereniceCD 7 - Haydn: MessenCDs 8 & 9 - Haydn: Die SchöpfungCDs 10 & 11 - Haydn: Orfeo & EuridiceCD 12 - Mozart: Klaviersonaten Nr. 16 & 17; Rondos KV 485 & 511; Menuett KV 355; Gigue KV 574; Fantasie KV 475; Andante KV 616CD 13 - Mozart: Klarinettenquintett; Hornquintett; OboenquartettCD 14 - Mozart: Serenaden Nr. 11 & 13CD 15 - Mozart: Streichquintette Nr. 2 & 3CD 16 - Mozart: Serenade für Bläser KV 361CD 17 - Mozart: Symphonie Nr. 29; Symphonie KV 19a; Divertimento KV 136CD 18 - Mozart: Symphonien Nr. 31 & 40CD 19 - Mozart: Flötenkonzert; Harfenkonzert; FagottkonzertCD 20 - Mozart: Hornkonzerte Nr. 1-4CD 21 - Mozart: Klavierkonzerte Nr. 17 & 20CD 22 - Mozart: Messe c-moll; KrönungsmesseCDs 23-25 - Mozart: Cosi fan tutteCD 26 - Beethoven: LiederCD 27-36 - Beethoven: Klaviersonaten Nr. 1-32CD 37 - Beethoven: Bläserquintett / Mozart: Quintett KV 452 für Klavier & BläserCD 38 - Beethoven: Septett op. 20 / Weber: KlarinettenquintettCD 39 - Beethoven: Symphonie Nr. 3CD 40 - Beethoven: Symphonie Nr. 9CD 41 - Hummel: Klaviersonaten / Haydn: Andante con Variazione / Chopin: BarcarolleCD 42 - Klarinettenquartette von Hummel, Crussell & KrommerCD 43 - Schubert: Sonatinen für Violine & Klavier D. 384, 385, 408CD 44 - Violinsonaten von Schubert & MendelssohnCD 45 - Schubert: Klavierquintett "Forelle"; 7 LiederCD 46 - Schubert: OktettCD 47 - Mendelssohn: CellosonatenCD 48 - Weber: LiederCD 49 - Trios by Weber, Schumann & GlinkaCD 50 - Liszt: Klavierwerke

The L' Oiseau- lyre Baroque box set which was released first became popular, but I am not going to assume that you the reader own it, and so for this new set, the Classical and Early Romantic period, I shall go into some detail about it.. For there are many gems in this Box set, including Haydn's L' anima del filosofo (The philosopher's soul), or Orfeo ed Euridice with Bartoli. Weber and Beethoven Songs, also, all Beethoven 32 sonatas played on a fortepiano by Malcolm Binns. The first time they were played on the original instrument.(REVIEWS BELOW).THE BOX:The box is made of tough cardboard and is white with paintings on each side, taken from the eras that the music in this set is about. Underneath the box, the Composer's music, orchestra and director, with soloist or singers, if any. The lid is attached to the box and one merely flops it over. On its top are a few of the paintings on the sleeves. Underneath on a white background in black the Lyre bird. The sleeves are the originals, with paintings that are from the Classical and Romantic eras, with a few sleeves that do not have them, but keep the original stylish border. On the black background, in white are the track numbers and music to be played, plus composer and large CD number. A few covers have a white background with the words in black. also three double and three triple sleeves included. The CDs are white with the details about the music and CD number. The booklet has pictures of the Orchestra, conductors, soloists, even the fortepiano's used. There is a section called CD cue , with CD number, composer, track numbers, music to be played. The L'Oiseau story. The repertoire. In English, French and German. No translations, but the booklet suggests that the sung texts and English translations are available at [...]. The last L' Oiseau-Lyre box set "Medieval and Renaissance" will be coming out, but when?SOUND:The CDs are divided into ADD- Stereo and DDD-Digital. According to EMI, ADD means analogue tape recorder used during session recording, digital tape recorder used during subsequent mixing &/or editing' and mastering(transcription). DDD. Digital tape recorder used during session recording, mixing &/or editing and mastering( transcription). It is obvious that these CDs have been remastered, but when? No mention in the booklet or box about this subject is to be found. However the sound is good, not a very technical statement.THE FOUNDER OF L' OISEAU-LYRE:Australian Louise Hanson Dyer (1884-1962) founded a specialist music publishing house in Paris, she called it L'Oiseau (after the Australian lyre bird) in the 1930's. Then a decade later a record company followed with the same name. She was a wealthy woman so she could indulge herself in her passion with the help of her two husbands, one died, and Thurston Dart. She had a mania for quality at the stages of preparation and production, that was why L'Oiseau- Lyre was known for its high quality products. Thus, through her company Louise championed Baroque music and other forgotten works played on modern instruments. The period instrument movement only took off after she died. When this happened eventually her younger husband sold the company to Decca. Yet as a memorial to this great lady, Decca part of the Universal company, has produced a very classy box set and booklet.THE CLASSICAL ERA 1750-early 1800's. The age of reason, impersonal, objective. This era saw a dramatic change in the arts, for it was an unsettling period. This was case with the symphony, concerto and the Sonata which under went change through the efforts of composer's such as Haydn and Mozart, who created their unique work with simplicity and restraint in their music.ROMANTIC ERA from the 1800's onwards. Romanticism was subjective, where feelings came to the fore and individualism was important, also being apart of nature was seen as a spiritual experience. Beethoven was said to be the bridge between these two eras. But Weber, Schubert, Schumann and Lizst are prime examples of this particular era.RECORDINGS:STAMITZ: ADD He was spoken of having pushed art further than anyone had done before him, and he made the Mannheim orchestra the finest in Europe. The symphony in G major is early; the sinfonia pastorale, which quotes a Czech Christmas carol and includes descriptive effects such as a peal of bells and a peasant bagpipe drone.Symphony in D Major. The clarinet Concerto is no less delightful. Alan Hacker plays it expertly on a period instrument and the orchestra plays on authentic instruments at a lower pitch.The Academy of Ancient music (AAM). Hogwood direction & harpsichord.BOCCHERINI:DDD. Symphony in D minor, op 12. Symphony in F major, op 35. Sinfonia in C minor, op 41. AAM. Hogwood direction. Period instruments performances have great character and his severe manner adds to the music's strength.HAYDN: DDD. Cello concerto's. in C major and D major. Coin Cello. AAM Hogwood direction. Coin is an excellent soloist and Hogwood is equally impressive.DDD. Symphonies No 94 "Surprise". Symphony No 96 "Miracle".AAM director Hogwood. The playing is polished and uses a small group of strings, half the size of that chosen by Tafelmusik. DDD.Bernice, che fai? Son pictosa, son bonina. Arianna a naxos. Solo pernsoso. Miseri noi, misera patria. Arleen Auger soprano. Handel and Haydn society. Hogwood direction.He draws alert playing from the society. Auger singing is heartfelt. A gem.HAYDN: MASSES. ADD. Missa Sancti Nicolai. G Major. Missa brevis.F flat major. BONUS: Missa in honorem Beatisssimae Virginis Mariae."Great Organ Mass"In E flat Judith Nelson. Emma Kirkby. sopranos. Shirley Minty. Carolyn Watkinson contraltos. Rogers Covey-Crump. Martyn Hill. Tenors. David Thomas. The choir of Christ Church cathedral, Oxford. ANM. Simon Preston direction. In the early E flat Mass Haydn followed the Rocco conventions of his time, generally adopting a style featuring italianite melody which to our ears sounds Operatic. The Missa sancti Nicolai has a freshess of inspiration. The performance is first rate in every way.DDD. The Creation. Kirkby, Rolfe Johnson, George, New college, Oxford, AAM Director Hogwood. He defies what has become the custom in period performance and opts for large forces. The result, for all its weight, retains the fine clarity of detail and freshness. The trio of soloists is admirably consistent..English. sung.HAYDN: DDD. Opera. L' anima del filosofo (The Philosopher's soul) Orfeo ed Euridice. Hogwood uses an enlarged AAM and makes the most of the drama. The very opening brings one of the most telling passages, a monologue when Euridice in distress flees into the forest. Cecillia Bartoli is in her element, passionate expressive, creating a larger-than-life character. Euridice's death scene. Parts of the opera is like Gluck's version. But Creonte (D' Arcangelo) has promised the hand of Eurydice to Aristaeus. She however, is in love with the singer Orpheus (Uwe Heilmann). In a deep forest Eurydice has fled from her marriage, but is threatened by warriors who wish to sacrifice her. Orpheus soothes them with his song and Eurydice is saved. Creonte agrees to the marriage. At the wedding Orpheus leaves his wife for a moment and one of Aristaeus's warrior's attempts to overpower her. Eurydice flees, but treads on a snake and dies. At the cave to the underworld Orpheus turns to the wise Sibyl for help. She sends him a spirit who advises him to seek solace in philosophy, and will help him find Eurydice. When they find each other, he looks at her and loses her. Dejected, he walks along the sea shore, a group of Bacchantes attempt to seduce him, he rejects them. They give him a potion of love, which is poison and he dies. So Orpheus is redeemed by death.This was Haydn's last opera, and he only saw an incomplete version of it. The opera lay forgotten for 150 years and was revived in Florence in 1951. with Callas in the role of Eurydice.MOZART: DDD. Sonata in C Major K545. Rondo in A minor, K511. Menuet in D major, K355. Eine Kleine gigue in G major, k 574. Fantasie in C minor, K 475. andante fur eine waltz in eine kleine orgel, K 616. Rondo in D major, K485.DDD. Sonata in B flat major,K570 Andras Schiff is known for playing on a modern piano. Here he uses a fortepiano which is lighter sounding and played quicker then what we are use to. This is what the sound Mozart would have heard. DDD Clarinet & Horn Quintets. Oboe Quartet AAM Chamber Ensemble. It is delightful to have these three pieces on a single CD. Serenades (ADD) Serenade in E flat major K375. Serenade in G major K 525. Eine Kleine Nacht music. The music party. Alan Hacker direction. Sprightly and alive. First international release. ADD. String Quartets K515 and K516. Esterhazy string Quartet.The K515 is light, swift and tuneful, but the K516 is exactly the opposite in mood. The string quartet with Jaap Schroder can hold their own with the top String Quartets. First international release. ADD Symphony No 29 in A major/186a. Symphony in F major K anh 223/k19. The No 29 AAM Direction and Jaap Schroder.Hogwood direction. The No 29 has an incisiveness and clarity without losing its bounce in the last movement.DDD. Gran Partita. DDD. Serenade in B major K360/370a. Amadeus Winds. Hogwood .The distinctive character of eighteenth century instruments brings, a sparer, lighter texture as it should. DDD. Symphony no 40 (first version). Brisk and light, but still conveying the drama and marvellous melodies. No 31 (Paris) (Second version).AAM. Hogwood. DDD. Woodwind Concertos. Flute and Harp Concerto.K299.(first Version). Andante in C major,K 315 for flute and orchestra. Bassoon Concerto K 191. Flute Concerto No 1 K313.AAM Hogwood.MOZART: DDD. Horn concerto's. No 3 K477. No 2, K417. Rondeau K371. No 4 K495. No 1 K412. Rondo in D major. AAM. Hogwood direction. Anthony Halstead -Horn. Very melodious Horn playing , with the backdrop of AAM directed by Hogwood. That's why I like Authentic instrument performances, because of the light textures causing often an almost meditative inwardness about the music. Also, we get an idea of what the Composer's actually wrote and we often find that the tempi is faster and the played notes sound different. I know that Haroncourt a period instrument specialist, stated. "that those playing the period instruments have been trained today and play with the knowledge of Glass, Schoenberg, Mahler and Wagner, therefore it is not authentic". For me, the idea of what the sound was like in the past is better then nothing. DDD. Piano Concerto's No 17 K453 and No 20 K 466. Robert Levin fortepiano. AAM Hogwood. The performance of the no 20 piano concerto is a major achievement, a feeling that the artists are creating the music afresh. In the No 17 Levin is in sparkling form. playing the outer movements gracefully.MOZART: DDD. Mass in C Minor, K 427. Arleen Auger soprano. Lynne Dawson. John Mark Ainsley. Michael George and David Thomas Basses. BONUS: Mass in C major, K 317 "Coronation" Emma Kirkby soprano. Catherine Robbin. John Mark Ainsley tenor. Michael George.AAM. Hogwood direction. These are fine performances with sensitive and delicate playing. This is one of Hogwood's most successful recordings. The choral singing has vitality. DDD. COSI FAN TUTTE: Rachel Yakar, Alicia Nafe, georgine Resick, Gosta Winbergh, Tom Krause, Carlos Feller. The Drottingholm Court theatre orchestra and Chorus.Cond Arnold Ostman. Here is an aptly fresh- voiced team. stylishly Mozartian- this recording aims to reproduce one of the most successful of his productions. The tempi is hectic. The period instruments are light toned and with singers agile, there are no problems and Ostman refreshingly establishes a valid new view. There is no weak link in the cast.BEETHOVEN: ADD. Sonatas 1795-1798. 1-7. 1799-1801. 8-15 including Pathetic, Moonlight and Pastoral.1802-1804. 16-23. Includes Waldstein. appassionata. 1809-1822. 24-32.Les Adieux and Hammerklavier.. Malcolm Binns forte piano, used a variety of these instruments when playing these sonatas in the recordings late 1970's. This was the first time these fortepiano sonatas had been recorded. The tempi are fast and the sound much different to what you may be familiar with, and probably what Beethoven heard, before he became deaf. You certainly realize that what is played on the modern piano in some instances, is not what Beethoven meant. I have collections of these sonatas by Richter, Gilels, Barenboim and Glenn Gould playing the modern piano, and the sound they produce is very Romantic which suits me. But after hearing Binns version, you realize that there are places where pure Beethoven is not being played, for it cannot be done on the piano we are familiar with. I must say, it came as quite a shock to me. Thus, you can now understand why Beethoven is considered part of the classical era, but a bridge to the romantic age, because you can hear it played on an instrument for which he wrote his Sonatas. For me, a gem.BEETHOVEN: ADD. Songs. Neue Liebe, neus Leben. 3 gesang. Maigesang op 52. Marmotte. An de ferne geliebte. Die Liebende. Adelaide. Der kuB. Zartliche Liebe. Das Gluck der Freundschaft. An die Hoffnung. Des Kriegerrs abschied. Martyn Hill tenor. Hogwood Forte Piano. beautifully sung by Hill with the piano Forte which makes all the difference to these songs. A gem. First international CD release. DDD. Quintet for fortepiano and wind instruments. Robert Levin. AAM chamber ensemble. a light hearted work. Septet op 20. AAM Chamber ensemble. They give a light-textured and lively account of this genial work. Solo playing of the instruments is impeccable. BEETHOVEN: DDD. 3rd and 9th symphony. Hogwood takes heed of the Beethoven's marking's, however in the 9th his manner is not too vigorous, especially near the end of the final.WEBER: DDD Clarinet Quintet. op 34. If you want to hear how this work sounded during Weber's life time, Antony Pay uses a reconstruction of a 1810 Clarinet and shows you how. This is a fresh and pleasing performance with a finely sensitive Adagio, and a brilliant third movement. AAM Chamber Ensemble. HUMMEL: ADD. Piano Sonata in F sharp minor, op 81. Piano sonata in D major,op106. Hummel was a pupil of both Mozart and Haydn and the last true representative of High Classicism. His brilliance as a performer made him an influence on the Romantic Generation of Romantic pianists. CHOPIN'S Barcarolle in F sharp minor op 60. Imagine Chopin played on a fortepiano. HAYDN: Variations in F minor.. Malcolm Binns. First international release. HUMMEL:ADD. Clarinet Quartet in E flat major. The music Party. Clarinet Alan Hacker. A delectable work.Alan Hacker uses a Goulding clarinet circa 1880, and this would be the sound that Hummel himself would have recognised. There is plenty of warmth in the lyrical music. SCHUBERT: ADD. Three violin Sonatas, op 137, No 1 D384. No 2 D 385. No 3 D 408.Schroder Violin. Hogwood fortepiano. Schroeder uses a Stradivarius and Hogwood a piano from about 1825 by George Haschka. which has a lightness of colour that has its own special charm. Schroder plays with fine artistry.ADD: MENDELSSOHN: Violin Sonata in F minor op 4.. Payed by Schroder and Hogwood(as above). Has many endearing moments. SCHUBERT: DDD. Piano Quintet in A major, D 667. "The Trout" AAM chamber ensemble. 7 Lieder. Die forelle. Am Strome. Auf dem See. Erlafsee. An eine Qualle. Der Jungling am Bache. Der Schiffer. John Mark Ainsley tenor. Steven Lubin. Fortepiano. Stunningly beautiful singing. A Gem. DDD. Octet D803. AAM Chamber ensemble. They bring out the open joyfulness of Schubert's inspiration. MENDELSSOHN: DDD. Sonata No i and 2. Song without words. Christophe Coin cello. Patrick Cohen Fortepiano. The second of the two is exhilarating.. WEBER: ADD. Songs. Martyn Hill tenor. Hogwood Fortepiano. Wilhelm Muller poet of Die Schone Mullerin and Wintereise, stated that Weber was a master of German songs. Hill gives a delightful recital. A gem. The 25 songs here covered roughly a quarter of Weber's songs, most of them containing his lyrical gift which is always dominant .LISZT: ADD Piano music. Deux Legendes. Ave maria. Miserere from Il Trovatore. Fantasie sur l' opera hongroise. La Reine de Saba. Malcolm Binns piano. First international CD release. A gem.REFERENCES: Batta A. Opera. 2005. Konemann. Penguin Classical Guide 1993 & 1996. Stanley,J. Classical music.1994. Reed International books.VOTES: 21 out of 21. USA and Brit amazon have not replaced my votes since the change. Brit amazon refuses to do so.

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