This is one of three
big boxes from EMI – the others feature
Mozart and Schubert – which represent
something of a departure for a major
company. EMI have probably issued comparable
size boxes before but most probably
in anniversary or complete edition mode,
and undoubtedly costing more than this
one which comes in at hardly more than
£1 a disc. That territory belongs to
the likes of Brilliant Classics who
issued some 40 disc boxes of major composers
about three years ago at under £1 per
disc. I am not sure quite who these
very cheap mega-boxes are aimed at but
we’ll come back to that later.
The arbitrary number
of 50 CDs probably fits Beethoven quite
well – better than Mozart or Schubert
– because this does allow coverage of
just about all his major works. Reviewing
the list of those played here against
a catalogue of the composer’s published
opuses, there is not much missing –
a couple of overtures, the two string
quintets, woodwind trio and horn sonata
seem to be the most important items
not included. And these could probably
have been squeezed in – I presume that
suitable recordings were not to hand.
There are not many "WoOs"
but there again few, if any, of Beethoven’s
unpublished works are masterpieces.
So, in terms of coverage, this set would
give you a recording of almost everything
significant that Beethoven wrote.
Next I will give you
an overview of the box and then we’ll
come back to the different elements
in more detail; this section is really
about testing out whether you might
just be interested. In physical terms,
it is only about the size of a CD case
cubed – a very positive feature – and
some of the artists are listed on the
side. Karajan and Giulini are at the
top of the list although they conduct
but one and two works respectively,
albeit major ones. Once one has mastered
how to open the box, essentially by
dismantling it, the contents look crammed
but there is quite a lot of extraneous
cardboard inside to hold the paper-thin
disc envelopes in place. For one moment
I mistook the cardboard for two chunky
booklets but, in terms of documentation,
there is simply a track listing. Dates
of recordings are given in years and
on a "wholesale" basis – for
example the piano sonatas are noted
as 1968-1974. The earliest date seems
to be 1957 so it seems likely that all
are in stereo and the two violin romances
from 1996 appear to be the only digital
recordings. They seem to be there merely
to allow "ADD/DDD" to be claimed.
Shame on you EMI, particularly as Menuhin’s
performances of these works would have
done nicely and legitimately allowed
another big name to be placed on the
side on the box. Most of the material
is from the late 1950s and 1960s and
some of it may be having a last outing
before EMI lose the exclusivity of the
copyright. Nevertheless, apart from
the odd exception, the sound quality
should not be a deterrent. As we will
see, most of these recordings are worth
having and few of them are otherwise
available at the moment.
For the most part, the various genres are effectively
complete sets by the same artists – the major exception is the
piano concertos for which Emil Gilels plays the first, second
and fourth, and Bruno Leonardo Gelber plays the third and fifth.
The symphonies and overtures are played by the Berlin Philharmonic
Orchestra under André Cluytens, and the soloist in the
violin concerto is David Oistrakh. The piano sonatas are the work
of Eric Heidsieck who also partners Paul Tortelier in the cello
sonatas. In the violin sonatas Christian Ferras is accompanied
by Pierre Barbizet. The string quartets are the later recordings
of the Hungarian String Quartet and the Hungarian Trio feature
in the piano trios - they were two completely separate groups.
The Melos Ensemble play the large chamber works: the Piano Quintet,
Sextet, Septet and Octet. In the sacred choral music we get Giulini’s
Missa Solemnis and Mass in C. Fidelio is Karajan’s
1971 recording featuring Jon Vickers and Helga Dernesch in the
leading roles. The final disc has Birgit Nilsson singing Ah,
Perfido! and Dietrich Fischer-Dieskau singing lieder. So,
if enough of that appeals, read on!
Symphonies and Overtures
The cycle of symphonies
recorded by André Cluytens with
the Berlin Philharmonic Orchestra in
the late 1950s is consistently good.
It was once a mainstay of the Classics
for Pleasure LP catalogue and has been
out on CD before on Royal Classics.
The sound is indistinguishable from
that issue with quality which is about
average for its early stereo vintage
although rather light in the bass. It
will be interesting to see what the
likes of Mark Obert-Thorn or Andrew
Rose can do with it when the copyright
expires in a year or two. The playing
of the Berlin Philharmonic is highly
committed throughout the cycle without
being as pristine as it later was in
Karajan’s cycles for DG. In terms of
interpretations, the Eroica and
the Choral symphonies are not
quite as stirring as they can be but
the fifth, sixth and seventh symphonies
are readings of the highest order. In
the Pastoral symphony Cluytens
captures perfectly the spirit of each
movement and, if there is a better version
of this work on record, I haven’t yet
heard it. In the ninth symphony Cluytens
takes a generally spacious view. Frederick
Guthrie is a slightly disappointing
bass soloist but the other vocal contributions
hit the spot, particularly tenor Nicolai
Gedda. The same forces also give us
six overtures in the same vein with
the Leonoras being represented
by No. 3.
Concertos
David Oistrakh is the soloist in the violin concerto,
a reading emphasising beauty and notable for a very long-breathed
first movement. He is well supported by Cluytens, here conducting
French radio orchestral forces. Afterwards John Lill plays the
solo part in the wonderful Choral Fantasy with its pre-echoes
of the ninth symphony. Alexander Gibson directs the erstwhile
Scottish National Orchestra – and presumably their chorus although
this is not stated – in a splendid reading, again coming from
the Classics for Pleasure LP catalogue. These recordings have
come up well on CD but the sound quality in the other concerto
recordings is generally much less convincing. The Triple Concerto
takes the wooden spoon in the whole box in this regard. Lev Oborin
is the pianist but his piano seems to be in a world of its own
or possibly in a bathroom. David Oistrakh and Sviatoslav Knushevitsky
are more central to the sound picture and the late 1950s Philharmonia
Orchestra is conducted by Sir Malcolm Sargent. As an interpretation
it is fair enough but it is hard to believe EMI doesn’t have something
better sounding in the vaults. The Gilels recordings of the first
and second piano concertos have rather better sound but, as in
other recordings from EMI France of the period, they are light
in the bass. Gilels is sometimes wayward – for example in the
slow movement of the first concerto which is taken at an exaggeratedly
slow tempo. He also lingers a little in the slow movement of the
second concerto but less intrusively and there is real poetry
here. He is nothing short of majestic throughout the fourth concerto
which was recorded with the Philharmonia Orchestra under Leopold
Ludwig in markedly better sound – this is one of the gems of the
box. Bruno Leonardo Gelber’s third and fifth were made about a
decade later with the New Philharmonia Orchestra under Ferdinand
Leitner. Gelber‘s readings are powerful conceptions and he is
well supported by Leitner. Tempi tend towards extremes and just
occasionally the music almost runs away from him. The recorded
sound is rather inconsistent – mostly it is unobtrusive but there
are some patches of hardness and unnatural piano tone. Overall,
the concertos are a mixed bag that made me hanker for the likes
of Perahia and Kovacevich but I shall certainly return to Gilels
in the fourth piano concerto.
String quartets
The Hungarian String Quartet’s 1960s cycle sounds
well and is made up of consistently well-played if not very distinctive
readings. Whilst the greatness that beckons from the last of the
Op.18 quartets is here evident – the slow introduction to the
finale is magnificently played – the Razumovsky’s are less
successful, particularly Op.59 No 3. The next quartet – The
Harp – almost makes up for that and with No. 12 the Hungarians
step up a gear. Their readings of the late works lack a little
of the intensity of the Lindsays and more closely resemble the
Talich quartet’s approach. Ultimately this is easier listening
if less moving. The Groβe
Fuge is included in its original place in Op.130, which
is fair enough, and the finale which was written to replace it
follows on. Oddly, having followed the published order all the
way to the last two quartets, these are reversed when Op.135 could
easily have fitted on the same disc as Op.132. These recordings
on LP were my introduction to the Beethoven quartets and I enjoyed
revisiting them.
Trios
The Piano trios included here are the six works
in the regular canon plus the early trio in E flat (WoO38), two
sets of variations (Kakadu and Op.44) and the single movement
Allegretto, all played by the Hungarian Trio. The Op.11 trio is
given in the clarinet version with André Boutard as the
clarinettist. These recordings date from about 1960 and sound
well for their age. The Hungarian Trio proves to be a reliable
guide and in its hands the merits of the three works Beethoven
published as Op.1 are readily appreciated. They are also very
fine in the later works – the two Op.70 trios and the Archduke.
In the latter they find fun in scherzo and plumb the depths of
the slow movement most affectingly. Beethoven’s string trios are
all early works – the opus numbers are 3, 8 and 9 with the latter
being a set of three works, all in standard four movement format.
The earliest work interpolates two extra minuets and Op. 8 has
five movements and the title Serenade. These five works are effectively
performed by the Trio à cordes Francais.
Miscellaneous chamber works
Tucked away in the
middle of the set on CDs 33 and 34 are
two discs of relatively rare music for
small forces. The first of these starts
with four works for mandolin and harpsichord.
Marked Siciliano, Allegro,
Adagio and Andante with variations
respectively they form represent
a charming suite without ever sounding
like Beethoven. Apparently they were
first performed in 1796 but I haven’t
been able to find out anything else
about them. The Op.25 flute Serenade
is reasonably familiar and Michel Debost’s
flute is a joy to hear. He also plays
in the trio for flute, bassoon and piano
WoO37 which follows. In this work bassoonist
Amaury Wallez has no walk on part and
the combination works well. The opener
on disc 34 is a B flat flute sonata
in four movements which is attributed
to Beethoven although Grove online lists
it in the "doubtful authenticity"
category and it doesn’t even have a
WoO number. There follows ten of the
Airs variés for flute and piano,
an assortment from Opp.105 and 107 in
no particular order. These seem to be
inspired by folk-songs from various
places around Europe. Debost is partnered
by pianist Christian Ivaldi throughout
the disc, all of which is pleasant enough
– the lighter side of the great man.
About ten discs later
on the Melos Ensemble play the chamber
works for larger forces – the Piano/Wind
Quintet, Sextet with two horns, Septet
and Wind Octet. These are all excellent
performances decently recorded. The
Quintet is a relatively early work modelled
on Mozart’s K452 but by no means superior
to it. The Septet is well-known but
less deserving of it than the Sextet
Op. 81b and Octet Op.103, both marvellously
original works dating from 1810 and
around 1792 respectively - the opus
number of the latter is misleading.
Violin and cello sonatas
The ten violin sonatas
are represented by the generally easy-going
readings of Christian Ferras from the
very end of the 1950s. His often sweet
tone was well-captured by the recording
and he had a sympathetic accompanist
in Pierre Barbizet. There are few ups
and downs although the A major sonata
Op.30 No.1 isn’t totally convincing.
Otherwise this is a cycle of increasing
power, properly peaking with the last
three sonatas. The Kreutzer is
particularly fine and Op.96 has poise
and restrained lyricism. This repertoire
has been dominated by Perlman and Ashkenazy
on Decca for many years; these readings
do not reach their heights but are nevertheless
a valid alternative.
Paul Tortelier features
on two discs containing the five cello
sonatas and three sets of variations
– on themes from Judas Maccabeus
and Die Zauberflöte. He
is partnered by Eric Heidsieck who is
sympathetic and much less erratic than
in his recordings of the piano sonatas
(see below). Tortelier’s approach is
generally lyrical and slightly restrained
although he does cut loose at the right
moments, notably in the greatest of
the sonatas – the A major Op.69. I enjoyed
these readings immensely – definitely
one of the jewels of this box although
it is worth noting that they are available
separately as a bargain twofer (569422-2).
Piano music
Eric Heidsieck’s readings
of the piano sonatas are frustratingly
variable and, arguably, the principal
Achilles heel of the set. In the early
works in particular he is very free
with variations in tempo. I was sometime
left feeling that Beethoven was at the
service of his considerable virtuosity
rather than the reverse. In general,
this is a cycle which improves as one
goes through it but there are some significant
disappointments in both early and late
works – most notably Op.10 No.3 and
the Hammerklavier, both of which
have outer movements which sound quite
mannered. The Pastorale is engaging
in the outer movements but spoilt by
perverse basic tempi in a very brisk
Andante and turgid scherzo. Heidsieck
certainly took Beethoven’s tempo marking
of Presto seriously and had the
technique to do so. Unfortunately though,
the finales of the Moonlight
and Appassionata only just avoid
running away from him. There are some
successes – notably Op.7, Op.22 and
the Waldstein. Some of the smaller,
more relaxed works such as Opp.54 and
78 also go rather well. Heidsieck turns
the Rondo finale of Op.49 No.1 into
a creation that sounds as the opus number
might reflect when it was written. Since
the work was probably the very first,
this might not be considered an advantage.
In the great final trilogy Heidsieck
is at his very best in Op.111 which
is a finely sustained reading. The recorded
sound is perfectly acceptable – and
consistent – but I don’t think this
cycle would be a good choice as one’s
only versions of the sonatas. I would
rate it some way behind Daniel Barenboim’s
EMI series which was made in same period.
Apart from the sonatas there are three other
discs of piano music in the box – one with the Diabelli
variations, one of the bagatelles and one of odds and ends with
the Eroica variations being much the most important work.
The first two and most of the third are played by Georges Solchany
who was the pianist of the Hungarian Trio. The Diabelli
variations are well-played technically but sound a bit literal
at times and this is no match for the fantasy of Stephen Kovacevich
(then Bishop) who made a recording for Philips at around the same
time (1970). In the bagatelles Solchany plays all of the Opp.33,
119 and 126 sets and a couple of extras. He captures their frequent
quirkiness well and I found this disc most enjoyable. The Eroica
variations are good too although the rest of the items on disc
19 are among the least essential works in the set – for example
the God save the King variations, here played by Georges
Cziffra.
Choral Music
Beethoven’s sacred
choral music is represented by three
works on three discs – the Missa
Solemnis, Mass in C and Oratorio
Christ on the Mount of Olives.
The latter is a rarity and its opus
number of 85 does not reflect its composition
in 1803. The performance comes from
Bonn in 1970 and is directed by Volker
Wangerheim. Nicolai Gedda is in good
voice as Christ in a work which Beethoven
seems to pay homage to Bach. Both masses
are conducted by Carlo Maria Giulini
with London-based forces recorded in
the 1970s. Soloists are starry - Janet
Baker is mezzo-soprano in both works
– and the recorded sound is decent.
Thirty-plus years on Giulini’s deliberate
approach seems old-fashioned although
the dedication shines through. The end
results though, particularly in the
Missa Solemnis, seem to me to
suffer from the lack of momentum.
Fidelio
Karajan’s 1970 Fidelio doesn’t seem to
be otherwise available at the moment. As one would expect, the
Berlin Philharmonic Orchestra plays superbly and it is well-recorded.
Compared to the Klemperer recording made a few years earlier by
EMI it is relatively light in feeling, both less dramatic and
atmospheric. For example the opening scene of Act II doesn’t feel
like it is set in a dungeon. Jon Vickers – also Florestan for
Klemperer – is excellent and Helga Dernesch sings Leonore very
well. There is a smattering of dialogue which often seems understated.
The booklet credits Karl Ridderbusch as the villain Don Pizarro
and fails to name Rocco. Two other sources I have checked indicate
that Zoltan Keleman sings Pizarro and Ridderbusch sings Rocco.
Songs
On the final disc, Ah, perfido! comes
off very well for Birgit Nilsson who is accompanied by the Philharmonia
Orchestra under Heinz Wallberg. The late-1950s sound quality for
the lieder which make up the rest of the disc is less sympathetic
but Dietrich Fischer-Dieskau is in very fine voice. In the great
cycle An die ferne Geliebte he is wonderfully accompanied
by Gerald Moore making this is a most treasurable version.
Conclusions
This review comes with
the caveat that, although in a few cases
I knew the recording already, it is
based on only one hearing of each disc
during an intensive month of listening
to Beethoven and almost nothing else.
It has generally been a positive experience.
Unsurprisingly there are some highs
and lows but perhaps the general level
of artistic and technical consistency
throughout the box is worthy of some
emphasis. There are just a few records
I would not want to be without – Cluytens
in the Pastoral symphony, Gilels
in the fourth piano concerto, Tortelier
in the third cello sonata and Fischer
Dieskau in An die ferne Geliebte
spring most readily to mind. There is
probably just one piece that I will
only play again if pressed – the Triple
Concerto – and most of the rest fall
into the worthy enough category.
To return to the question
of who is this box for? The relative
newcomer to collecting recorded classical
music should really be discovering a
range of composers before they cover
one as broadly as is done here but,
if they are set on acquiring a large
dose of Beethoven cheaply, this would
certainly fit the bill. People like
myself who grew up with some of these
recordings in LP days might want to
revisit the era and plug some gaps in
the collection, and it would make a
good present for them. Perhaps it could
be bought between a few friends and
shared out or passed round on a timeshare
basis? Of course it is always better
to run horses for courses but the price
gain here is very considerable. Two
EMI budget boxes covering the symphonies,
piano concertos and piano sonatas –
Klemperer and Barenboim are the principal
artists – occupy 19 CDs and currently
cost almost exactly the same as these
50 discs. I have both these sets and,
although they are generally preferable
to the versions in this box, if forced
to choose, I would now part with them
before this box.
The final word should
be about the composer whose marvellous
music is real reason for considering
this set - don’t roll over yet Beethoven.
If you can agree with that perhaps you
should be checking out this box.
Patrick C Waller
Full track-listing
CD 1
Symphonie n°1 en ut majeur Op.21
Symphonie n°3 en mi bémol majeur
Op.55 « Héroïque »
Orchestre Philharmonique de Berlin/André
Cluytens
CD 2
Symphonie n°2 en ré majeur Op.36
Symphonie n°4 en si bémol majeur
Op.60
Orchestre Philharmonique de Berlin/André
Cluytens
CD 3
Symphonie n°5 en ut mineur Op.67
Symphonie n°7 en la majeur Op.92
Orchestre Philharmonique de Berlin/André
Cluytens
CD 4 71.29
Symphonie n°6 en fa majeur Op.68 « Pastorale
»
Symphonie n°8 en fa majeur Op.93
Orchestre Philharmonique de Berlin/André
Cluytens
CD 5
Symphonie n°9 en ré mineur Op.125
« avec chœurs »
Gré Brouwenstijn soprano – Kerstin
Meyer contralto / Nicolaï Gedda
ténor – Frederike Guthrie basse
Chœurs de la Cathédrale Sainte-Hedwige
de Berlin/Karl Forster / Orchestre Philharmonique
de Berlin/André Cluytens
CD 6
Ouvertures
1 Coriolan 8.39
2 Egmont 9.13
3 Prométhée 5.35
4 Les Ruines d’Athènes 5.03
5 Fidelio 7.08
6 Leonore n°3 15.13
7 Romance pour violon & orchestre
n°1 en sol majeur Op.40* 7.15
8 Romance pour violon & orchestre
n°2 en fa majeur Op.50* 8.09
Orchestre Philharmonique de Berlin/André
Cluytens / *Patrice Fontanarosa violon
– Berliner Sinfonie-Orchester/Michael
Sch?nwandt
CD 7 65.21
Concerto pour piano n°1 en ut majeur
Op.15
Concerto pour piano n°2 en si bémol
majeur Op.19
Emil Guilels piano – Orchestre de la
Société des Concerts du
Conservatoire/André Vandernoot
CD 8
Concerto pour piano n°3 en ut mineur
Op.37
Concerto pour piano n°5 en mi bémol
majeur Op.73 « L’Empereur »
Bruno Leonardo Gelber piano – New Philharmonia
Orchestra/Ferdinand Leitner
CD 9
Concerto pour piano n°4 en sol majeur
Op.58
Triple Concerto pour piano, violon &
violoncelle en ut majeur Op.56*
Emil Gilels piano / *Lev Oborine piano
– David Oistrakh violon – Sviatoslav
Knouchevitzky violoncelle
Philharmonia Orchestra/Leopold Ludwig
1-3/Sir Malcom Sargent 4-6
CD 10 65.33
Concerto pour violon en ré majeur
Op.61
4 Fantaisie pour piano, chœur &
orchestre en ut mineur Op.80* 19.48
David Oistrakh violon – Orchestre National
de la Radiodiffusion Française/André
Cluytens / *John Lill piano – Scottish
National Orchestra/Sir Alexander Gibson
CD 11
Sonate pour piano n°2 en la majeur Op.2
n°2
Sonate pour piano n°3 en ut majeur Op.2
n°3
Sonate pour piano n°4 en mi bémol
majeur Op.7
Eric Heidsieck piano
CD 12
Sonate pour piano n°1 en fa mineur Op.2
n°1
Sonate pour piano n°5 en ut mineur Op.10
n°1
Sonate pour piano n°6 en fa majeur Op.10
n°2
Sonate pour piano n°7 en ré majeur
Op.10 n°3
Sonate pour piano n°22 en fa majeur
Op.54
Eric Heidsieck piano
CD 13
Sonate pour piano n°8 en ut mineur Op.13
« Pathétique »
Sonate pour piano n°9 en mi majeur Op.14
n°1
Sonate pour piano n°10 en sol majeur
Op.14 n°2
Sonate pour piano n°11 en si bémol
majeur Op.22
Eric Heidsieck piano
CD 14
Sonate pour piano n°12 en la bémol
majeur Op.26 « Marche funèbre
»
Sonate pour piano n°13 en mi bémol
majeur Op.27 n°1 « Quasi una fantasia
»
Sonate pour piano n°14 en ut dièse
mineur Op.27 n°2 « Clair de lune »
Sonate pour piano n°15 en ré
majeur Op.28 « Pastorale »
Eric Heidsieck piano
CD 15
Sonate pour piano n°16 en sol majeur
Op.31 n°1
Sonate pour piano n°17 en ré
mineur Op.31 n°2 « La Tempête
»
Sonate pour piano n°18 en mi bémol
majeur Op.31 n°3
Sonate pour piano n°20 en sol majeur
Op.49 n°2
Eric Heidsieck piano
CD 16
Sonate pour piano n°19 en sol mineur
Op.49 n°1
Sonate pour piano n°21 en ut majeur
Op.53 « Waldstein »
Sonate pour piano n°23 en fa mineur
Op.57 « Appassionata »
Sonate pour piano n°25 en sol majeur
Op.79
Sonate pour piano n°26 en mi bémol
majeur Op.81a « Les Adieux »
Eric Heidsieck piano
CD 17
Sonate pour piano n°27 en mi mineur
Op.90
Sonate pour piano n°28 en la majeur
Op.101
Sonate pour piano n°29 en si bémol
majeur Op.106 « Hammerklavier »
Eric Heidsieck piano
CD 18
Sonate pour piano n°24 en fa dièse
majeur Op.78 « A Thérèse
»
Sonate pour piano n°30 en mi majeur
Op.109
Sonate pour piano n°31 en la bémol
majeur Op.110
Sonate pour piano n°32 en ut mineur
Op.111
Eric Heidsieck piano
CD 19
1 Pour Elise, bagatelle en la mineur
WoO 59 2.57
2 Rondo a capriccio en sol majeur Op.129
‘colère pour un sou perdu’ 6.29
3 Variations en ut majeur sur ‘God save
the King’ WoO 78 8.36
Variations en mi bémol majeur
Op.35 « Eroica »
4 Introduzione col basso del Tema –
Tema 3.28
5 Var.1-15 16.45
6 Finale: alla fuga 5.09
7 6 Variations en fa majeur Op.34 13.51
8 6 Variations en ré majeur Op.76
6.37
9 8 Variations en fa majeur sur ‘Tandeln
und scherzen’ de Süssmayr WoO 76
8.56
1, 2 Danielle Laval, 3 Georges Cziffra,
4-9 Georges Solchany piano
CD 20
33 Variations sur une valse de Diabelli
Op.120
Georges Solchany piano
CD 21
Bagatelles pour piano
1 Bagatelle en ut mineur (1797) 3.36
Bagatelles Op.33
Bagatelles Op.119
Bagatelles Op.126
Georges Solchany piano
CD 22
Sonate pour violon & piano n°1 en
ré majeur Op.12 n°1
Sonate pour violon & piano n°2 en
la majeur Op.12 n°2 17.50
Sonate pour violon & piano n°3 en
mi bémol majeur Op.12 n°3 16.40
Sonate pour violon & piano n°4 en
la mineur Op.23 16.58
Christian Ferras violon – Pierre Barbizet
piano
CD 23
Sonate pour violon & piano n°5 en
fa majeur Op.24 « Le Printemps »
Sonate pour violon & piano n°6 en
la majeur Op.30 n°1
Sonate pour violon & piano n°7 en
ut mineur Op.30 n°2
Christian Ferras violon – Pierre Barbizet
piano
CD 24
Sonate pour violon & piano n°8 en
sol majeur Op.30 n°3
Sonate pour violon & piano n°9 en
la majeur Op.47 « A Kreutzer »
Sonate pour violon & piano n°10
en sol majeur Op.96
Christian Ferras violon – Pierre Barbizet
piano
CD 25
Sonate pour violoncelle & piano
n°1 en fa majeur Op.5 n°1
Sonate pour violoncelle & piano
n°2 en sol mineur Op.5 n°2
Sonate pour violoncelle & piano
n°3 en la majeur Op.69
Paul Tortelier violoncelle - Eric Heidsieck
piano
CD 26
Sonate pour violoncelle & piano
n°4 en ut majeur Op.102 n°1
Sonate pour violoncelle & piano
n°5 en ré majeur Op.102 n°2
12 Variations sur un thème de
Judas Macchabée WoO 45 11.43
7 Variations sur ‘Bei Männern’
(La Flûte enchantée) WoO
46 9.24
12 Variations sur ‘Ein Mädchen
oder Weibchen’ (La Flûte enchantée)
Op.66 9.34
Paul Tortelier violoncelle - Eric Heidsieck
piano
CD 27
Trio pour piano, violon & violoncelle
en mi bémol majeur Op.1 n°1
Trio pour piano, violon & violoncelle
en sol majeur Op.1 n°2
Trio Hongrois / Georges Solchany piano
– Arpad Gerecz violon – Vilmos Palotai
violoncelle
CD 28
Trio pour piano, violon & violoncelle
en ut mineur Op.1 n°3
Trio pour piano, clarinette & violoncelle
en si bémol majeur Op.11*
Trio pour piano, violon & violoncelle
en si bémol majeur WoO 39
Variations pour piano, violon &
violoncelle sur ‘Ich bin des Schneider
Kakadu’ extr. de l’opéra ‘Die
Schwestern von Prag’ de Wenzel Müller
Op.121a 17.08
Trio Hongrois
* avec André Boutard clarinette
CD 29
Trio pour piano, violon & violoncelle
en ré majeur Op.70 n°1
Trio pour piano, violon & violoncelle
en mi bémol majeur Op.70 n°2
Trio pour piano, violon & violoncelle
en mi bémol majeur WoO 38
Trio Hongrois
CD 30
Trio pour piano, violon & violoncelle
en si bémol majeur Op.97 « A
l’Archiduc »
Variations pour piano, violon &
violoncelle sur un thème original
en mi bémol majeur Op.44
Trio Hongrois
CD 31
Trio pour violon, alto & violoncelle
en sol majeur Op.9 n°1
Trio pour violon, alto & violoncelle
en ré majeur Op.9 n°2
Trio pour violon, alto & violoncelle
en ut mineur Op.9 n°3
Trio à cordes Français
/ Gérard Jarry violon – Serge
Collot alto – Michel Tournus violoncelle
CD 32
Trio pour violon, alto & violoncelle
en mi bémol majeur Op.3
Sérénade pour violon,
alto & violoncelle en ré
majeur Op.8
Trio à cordes Français
CD 33
Sonatine pour mandoline & clavecin
en ut majeur WoO 44a
Sonatine pour mandoline & clavecin
en ut mineur WoO 43a
Sérénade pour flûte,
violon & alto en ré majeur
Op.25
Trio pour flûte, basson &
piano en sol mineur WoO 37
1-4 Maria Scivittaro mandoline – Robert
Veyron-Lacroix clavecin / 5-10 Michel
Debost flûte – Gérard Jarry
violon - Serge Collot alto / 11-13 Michel
Debost flûte – Amaury Wallez basson
– Christian Ivaldi piano
CD 34
Sonate pour flûte & piano
en si bémol majeur, Anhang 4
(Attribué à Beethoven)
Airs variés pour flûte
& piano
Michel Debost flûte – Christian
Ivaldi piano
CD 35
Quatuor à cordes n°1 en fa majeur
Op.18 n°1
Quatuor à cordes n°2 en sol majeur
Op.18 n°2
Quatuor à cordes n°3 en ré
majeur Op.18 n°3
Quatuor Hongrois / Zoltan Szekely, Michael
Kuttner violons – Denes Keromzay alto
– Gabor Magyar violoncelle
CD 36
Quatuor à cordes n°4 en ut mineur
Op.18 n°4
Quatuor à cordes n°5 en la majeur
Op.18 n°5
Quatuor à cordes n°6 en si bémol
majeur Op.18 n°6
Quatuor Hongrois
CD 37
Quatuor à cordes n°7 en fa majeur
Op.59 n°1 « Razoumovsky »
Quatuor à cordes n°8 en mi mineur
Op.59 n°2 « Razoumovsky »
Quatuor Hongrois
CD 38
Quatuor à cordes n°9 en ut majeur
Op.59 n°3 « Razoumovsky »
Quatuor à cordes n°10 en mi bémol
majeur Op.74 « Les Harpes »
Quatuor Hongrois
CD 39
Quatuor à cordes n°11 en fa mineur
Op.95 « Quartetto serioso »
Quatuor à cordes n°12 en mi bémol
majeur Op.127
Quatuor Hongrois
CD 40
Quatuor à cordes n°13 en si bémol
majeur Op.130
Quatuor Hongrois
CD 41
Quatuor à cordes n°14 en ut dièse
mineur Op.131
Quatuor à cordes n°16 en fa majeur
Op.135
Quatuor Hongrois
CD 42
Quatuor à cordes n°15 en la mineur
Op.132
Quatuor Hongrois
CD 43
Quintette pour piano, hautbois, clarinette,
cor & basson en mi bémol
majeur Op.16
Sextuor pour 3 violons, 2 cors &
violoncelle en mi bémol majeur
Op.81b
Marche pour 2 clarinettes, 2 bassons
& 2 cors en si bémol majeur
WoO 29 1.15
Rondino pour 2 hautbois, 2 clarinettes,
2 cors & 2 bassons WoO 25 6.47
Duo pour clarinette & basson en
ut majeur WoO27
Membres du Melos Ensemble / Lamar Crawson
piano – Gervase de Peyer, Keith Puddy
clarinette – Peter Graeme, Sarah Barringson
hautbois – William Waterhouse, Edgar
Williams basson – James Buck, Neill
Sanders cor
CD 44
Septuor pour violon, alto, violoncelle,
contrebasse, clarinette, cor & basson
en mi bémol majeur Op.20
Octuor pour 2 hautbois, 2 clarinettes,
2 cors & 2 bassons en mi bémol
majeur Op.103
Melos Ensemble / Emanuel Hurwitz violon
– Cecil Aronowitz alto – Terence Weil
violoncelle – Adrian Beers contrebasse
– Gervase de Peyer, Keith Puddy clarinette
– Peter Graeme, Sarah Barringson hautbois
– William Waterhouse, Edgar Williams
basson – James Buck, Neill Sanders cor
CD 45
Le Christ au Mont des Oliviers, oratorio
op.85
1 Introduction (Grave –Adagio) 6.27
2 Jehova, du mein Vater! Jésus
3.57
3 Meine Seele ist erschüttert Jésus
4.42
4 Erzittre, Erde, Jehova’s Sohn liegt
hier! Seraphin 1.45
5 Preist, preist des Erlösers Güte
Seraphin 1.24
6 O Heil euch, ihr Erlösten Chœur/Seraphin
5.17
7 Doch weh ! Die frech entehren Chœur
1.54
8 Verkündet, Seraph, mir dein Mund
Jésus/Seraphin 1.10
9 So ruhe denn mit ganzer Schwere Jésus/Seraphin
6.58
10 Willkommen, Tod Jésus 1.10
11 Wir haben ihn gesehen Chœur 2.13
12 Die mich zu fangen ausgezogen sind
Jésus/Chœur 1.46
13 Hier ist er, der Verbannte Chœur
2.35
14 Nicht ungestraft soll der Verwegnen
Schaar Pierre/Jésus 1.20
15 In meinen Adern wühlen gerechter
Zorn und Wut Pierre/Jésus/Seraphin
4.58
16 Auf ! Auf ! Ergreifet den Varräther
Jésus/Chœur 3.01
17 Welten singen Dank und Ehre… Preiset
ihm Chœur 4.32
Christina Deutekom Seraphin – Nicolaï
Gedda Jésus – Hans Sotin Pierre
/ Solistes, Chœur Philharmonique de
la Ville de Bonn – Chœur du Théâtre
Municipal de Bonn, Orchestre de la Beethoven
Halle de Bonn/Volker Wangenheim
CD 46
Missa solemnis en ré majeur Op.123
(début)
Heather Harper soprano – Janet Baker
mezzo-soprano – Robert Tear ténor
– Hans Sotin basse
New Philharmonia Chorus & London
Philharmonic Orchestra/Carlo Maria Giulini
CD 47
Missa solemnis en ré majeur Op.123
(fin)
Heather Harper soprano – Janet Baker
mezzo-soprano
Robert Tear ténor – Hans Sotin
basse
New Philharmonia Chorus & London
Philharmonic Orchestra/Carlo Maria Giulini
Messe en ut majeur Op.86
Elly Ameling soprano – Janet Baker mezzo-soprano
/ Theo Altmeyer ténor – Marius
Rintzler basse
New Philharmonia Chorus & Orchestra/Carlo
Maria Giulini
CD 48
Fidelio opéra en 2 actes
Livret de Joseph Sonnleithner &
Friedrich Treittschke, d’après
Jean-Nicolas Bouilly
1 Ouverture 6.57
Acte I
2 Jetzt, Schätzchen, sind wir allen
Jaquino/Marzelline 4.42
3 Der arme Jaquino dauert mich beinahe
Marzelline 0.13
4 O wär’ ich schon mit dir vereint
Marzelline 4.00
5 Ist Fidelio noch nicht zurück?
Rocco/Marzelline/Leonore 0.35
6 Mir ist so wunderbar… Marzelline/Leonore/Rocco/Jaquino
4.41
7 Höre, Fidelio, wenn ich auch
nicht weiß Rocco 0.26
8 …man braucht auch Rocco 2.40
9 Ihr könnt das leicht sagen, Meister
Rocco Leonore/Rocco/Marzelline 2.08
10 Gut, Söhnchen, gut, hab’ immer
Mut Rocco/Leonore/Marzelline 6.18
11 Marche 2.17
12 Depeschen? Pizarro/Rocco 0.34
13 Ha! Welche in Augenblick! Pizarro
2.58
14 Hauptmann, besteigen Sied en Turn
Pizarro/Rocco 0.25
15 Jetzt, Alter, jetzt hat es Eile Pizarro/Rocco
4.38
16 Abscheulicher! Wo eilst du hin? Leonore
7.35
17 Vater Rocco, ich ersuchte Euch schon…
Leonore/Marzelline/Rocco 0.36
18 n°10 Finale : O welche Lust! Chœur/2
prisonniers 7.16
19 Nun sprecht, wie sie ging’s Leonore/Rocco
5.16
20 Ach! Vater, eilt! Marzelline/Rocco/Jaquino/Leonore/Pizarro/Chœur
6.18
CD 49
Fidelio – Acte II
1 n°11 Introduction & air : Gott!
Welch Dunkel hier! Florestan 11.23
2 n°12 Melodrame & duo : Wie kalt
ist es in diesem unterirdischen Gewölbe!
Leonore/Rocco 1.25
3 Nur hurtig fort… Rocco/Leonore 4.13
4 Er erwacht! Leonore/Rocco/Florestan
1.23
5 n°13 Trio : Euch werde Lohn in besser’n
Welten Florestan/Rocco/Leonore 6.36
6 Ist alles bereit? Rocco/Leonore/Florestan/Pizarro
0.39
7 n°14 Quatuor : Er sterbe! Doch er
soll erst wissen… Pizarro/Florestan/Leonore/Rocco
3.41
8 Vater Rocco! Vater Rocco! Jaquino/Rocco
0.18
9 Es schlägt der Rache Stunde!
Leonore/Florestan/Pizarro/Rocco 1.11
10 n°15 Duo : O namenlose Freude! Leonore/Florestan
2.58
11 n°16 Finale : Heil se idem Tag, heil
sei der Stunde Chœur/Don Fernando/Rocco/Pizarro/Leonore/Marzelline
6.02
12 Du schlossest auf des Edlen Grab
Don Fernando/Leonore/Florestan/Marzelline/Rocco/
Chœur/Jaquino 8.04
Helga Dernesch Leonore / Jon Vickers
Florestan / Karl Ridderbusch Don Pizzaro
/ José van Dam Don Fernando
Helen Donath Marzelline / Horst Laubenthal
Jaquino / Werner Hollweg 1er prisonnier
/ Siegfried Rudolf Frese 2ème
prisonnier / Chœur de l’Opéra
Allemand de Berlin – Orchestre Philharmonique
de Berlin/Herbert von Karajan
CD 50
1 Ah, perfido! Op.65 13.14
2 An die ferne Geliebte (A la bien aimée
lointaine) Op.98 Jeitteles
Auf dem Hügel sitz’ ich spähend
– Wo die Berge so blau – Leichte Segler
in der Höhen – Diese Wolken in
den Höhen – Es kehret der Maien
– Nimm sie hin den diese Lieder 14.14
7 Lieder de Goethe
3 Mailied Op.52 n°4 2.04
4 Marmotte Op.52 n°7 0.38
5 Neue Liebe, neues Lebe Op.75 n°2 2.55
6 Aus Goethes Faust Op.75 n°3 1.55
7 Wonne der Wehmut Op.83 n°1 3.00
8 Sehnsucht Op.83 n°2 2.03
9 Mit einem gemalten Bande Op.83 n°3
1.43
10 Adelaïde Matthison 6.11
6 Lieder de Gellert Op.48
11 Bitten 1.49
12 Die Liebe des Nächsten 1.09
13 Vom Tode 2.15
14 Die Ehre Gottes aus der Natur 2.23
15 Gottes Macht und Vorsehung 0.40
16 Busslied 4.48
1 Birgit Nilsson soprano – Philharmonia
Orchestra/Heinz Wallberg / 2-16 Dietrich
Fischer Dieskau baryton – 2 Gerald Moore,
3-16 Hertha Klust piano
EMI
CLASSICS 3877392 50 CDs [c.55
hours]
