For all the latest in our stores' Classical sections, you've come to the right place! Please read on for sale info, reviews of new releases and the top 20 concertos and symphonies you need to own!
AMOEBA SAN FRANCISCO CLASSICAL NEWS by Stacey
These hot new titles are on sale until Christmas Eve...and make great stocking stuffers.
Vittorio Grigolo - The Italian Tenor ($12.98)
Discover what all the fuss is about with the debut solo recording of this exciting young talent.
David Braid & Canadian Brass - Spirit Dance ($13.98)
Two award-winning Canadian artists join forces to create a rhythmic concoction of jazz, classical and world music.
Anonymous 4 - The Cherry Tree: Songs, Carols & Ballads for Christmas ($16.98)
There are few ensembles in the world who can compete with Anonymous 4 for sheer beauty. Let this wonderful collection of medieval English carols and Anglo-American spiritual songs sooth away your holiday stress.
Angèle Dubeau & La Pietà - Noël ($14.98)
Violinist Dubeau and her string ensemble take you on a joyous tour of the world's Christmas music.
'Tis the season...for box sets!
Whether you are searching for an impressive gift or just want to treat yourself, Amoeba has hundreds of box sets to fit every budget. Here are some exciting new collections.
J.S. Bach: Complete Edition (Brilliant)
157 CD, 2 DVD, DVD-ROM - $144.98
J.S. Bach: The Complete Works - Die Edition Bachakademie (Hänssler)
172 CD, 2 Booklets, CD-ROM - $279.98
W.A. Mozart: Complete Edition (Brilliant)
170 CD, DVD, CD-ROM - $145.98
Maria Callas - Callas: 25 Complete Operas (Membran)
52 CD - $74.98
Clara Haskil Edition (Decca)
17 CD - $69.98
Michel Plasson et la Musique Française (EMI)
37 CD - $93.98
Various: 111 The Collector's Edition 2 (Deutsche Grammophon)
56 CD, Limited Edition (and sure to sell out quickly like volume 1 did) - $195.98
Attention Classical Vinyl Lovers
We have expanded our classical clearance LP section! Such a deal at $1.00 per LP! Also browse our huge classical LP box-set selection.
Spend Wednesday Mornings with Amoeba
Did you know that Amoeba San Francisco plays classical music every Wednesday from 10:30 to 12:30? We highlight brand new releases as well as some of our personal favorites. Come browse our amazing inventory of new and used classical music in a relaxing atmosphere.
Big Recent Releases
-J. Brahms: Handel Variations op. 24 / Rhapsodies op. 79 / Piano Pieces opp. 118 & 119 - Murray Perahia
-Cecilia Bartoli - Sospiri (Limited Prestige Edition)
-Jean-Efflam Bavouzet - Ravel, Debussy, Massenet
-Magdalena Kožená - Lettere Amorose
-Nadja Salerno-Sonnenberg & New Century Chamber Orchestra - Live: Barber, Strauss, Mahler
-Stile Antico - Puer natus est: Tudor Music for Advent & Christmas
Leshnoff: Forgotten Chants & Refrains – Charles Weatherbee (violin); Roberto Díaz (viola); IRIS Orchestra; Mich ael Stern (conductor); Naxos
We have good reason to be thankful for the Naxos “American Classics” series: not only has this ever-growing collection provided substantial recordings of forgotten American masterworks from the past, but it has also introduced us to talented newcomers on the American compositional horizon: the music of 37- year-old Jonathan Leshnoff certainly falls into the latter category.
Although Leshnoff is a young contemporary, his influences seem to hearken back to the early and mid 20th century. Moments that evoke the feeling of Debussy, Shostakovich, Bartok and Prokofiev are sprinkled throughout this disc, but that is not to say that Leshnoff is engaging in slavish imitation of the previous generation of symphonists – his voice, although rooted in these traditions, is original and unique.
The first piece on the disc, dating from 2007, is a Double Concerto for violin and viola, accompanied by a medium-sized orchestra augmented with piano. Although the concerto is in four movements rather than three, it is highly traditional in both scope and form, although clearly a product of post-modernism. The first movement (marked “Slow”), opens in a meditative mood. Though somber, the atmosphere never strays from traditional tonality. Of the two soloists, the viola enters first, with a long, contemplative melody which, although spun out slowly, is certainly complex in its dark mood of contemporary angst. The violin enters shortly thereafter, but acts merely as a sounding-board for the viola – its accompaniment is neither contrapuntal nor harmonic, only supportive. The melancholy theme explored by the viola is certainly not beautiful, but it is interesting, and as it progresses it grows more agitated. Towards the movement’s close, the oppressive atmosphere is magically dispelled by the solo piano and the style ends with lyrical quiet.
The second movement is a scherzo: agitated and anxious, it provides an eloquent contrast to the peaceful mood in which the first movement ended. Unlike the first movement, the violin rather than the viola has the primary voice here, with the viola only interjecting short, intense phrases. The third movement (marked “mysterious”) is arguably the most immediately appealing of the three, resembling, in its airy simplicity, the music of the French impressionists, particularly that of Debussy.
Like the scherzo, the finale begins with marked agitation, although both the violin and viola writing here are amazingly virtuosic. It is in this movement that we definitely hear the influence of Shostakovich, Bartok and Prokofiev, with its rhythmic contrapuntal passages, its short, sporadic motifs which do not develop traditionally, and its ever-constant motion. But, again like the first movement, the mood suddenly breaks, and once more lush lyricism and serenity cap off what is certainly a piece proving the composer’s substantial talent.
If the double concerto included interesting orchestration and moments of lyrical beauty, the composer’s “Symphony #1” (2004) is even more rich and rewarding in its ability to mix these qualities with both forward and backward movement. The orchestral writing slightly resembles a musical time machine – with the brass (particularly a solo trombone) and bells intoning ancient liturgical melodies, contrasted with the body of the orchestra, which develops in an original and ever-evolving pattern, interspersed with interesting turns in the melodic writing. There seems to be a growing battle here between serenity and cacophony, with the former winning out in the fourth movement (marked allegro), which ends in quiet dignity, providing a miraculous bridge to the final movement (“resolution”) which repeats the liturgical chants from the first movements and develops a beautiful theme for solo clarinet, also heard briefly in the first movement. Tranquility prevails and the piece ends with a quiet flourish which, to this listener at least, proved highly satisfactory and worth a second hearing.
Neither the soloists, nor the orchestra, nor the conductor are big names, but one could not imagine the music being better served, even by a top-brand orchestra and maestro.
I don’t think Leshnoff’s presence marks a second coming as far as American symphonic or concertante music is concerned, but it is definitely worth considering and immensely fulfilling, something which cannot be said of many young artists currently on the scene. For those who are interested in the future of contemporary “classical” music, and who want to hear a new, inspiring voice with original ideas, I cannot recommend this disc highly enough.
Two Views of a Classic Song Cycle:
Schumann: Dicterliebe (op. 48)/ Brahms: Selected Songs – Simon Keenlyside (baritone); Malcolm Martineau (piano) – Sony Classical
Schumann: Dicterliebe (op. 48); Liederkreis (op.24)/ Lachner: Five songs from Sängerfahrt (op.33) - Mark Padmore (tenor); Kristian Bezuidenhout (fortepiano) – Harmonia Mundi USA
The feeling evoked by Schumann’s song cycle Dichterliebe (“A Poet’s Love” – settings of poems by Heinrich Heine) is difficult to describe. Unlike Schubert’s Schöne Müllerin, it does not tell a straightforward story, and unlike the same composer’s Winterreise, its mood fluctuates dramatically from song to song, invoking a definite feeling of instability, marked at once by the radically ambiguous tonality of the first song in the cycle, “In wunderschönen Monat Mai.” Through the years dozens of recordings of this amazingly fluid work have been released, interpretations which range from the ridiculous (Paul Esswood on Hungaraton) to the sublime (Wunderlich on DGG or Jose van Dam on Forlane among others), but new attempts at cracking this cycle’s enigmas are always welcome, and the past month has seen the release of not one but two new versions of the cycle, recorded by two very different artists and resulting in two highly contrasted views of the work.
Simon Keenlyside is one of today’s leading operatic baritones, but his latest release (his third for Sony Classical) reminds us that his roots lie firmly in the lieder repertoire. Unlike the three interpretations mentioned in the first paragraph, Keenlyside’s is not soft or wavering – his version is strong, masculine and unrelentlessly lacking in sentimentality. Where Wunderlich, van Dam, and even Fischer-Dieskau temper the cycle’s bitterness with longing, and its broad disappointment with vague memories of happier times, Keenlyside’s focuses mainly on the anger in the poet’s voice, his disgust with the woman he once revered. Although this cycle is occasionally performed by women (such as Barbara Bonney’s lovely rendering on Decca), never before has the music sounded so unyieldingly masculine, never before has the possibility of a feminine interpretation seemed so unthinkable to the listener as after hearing this recording. While the best-known song in the cycle “Ich grolle nicht” is sometimes augmented with defeatism and self-pity, here the singer is boldly defiant, rage endowed, almost vengeful; the agitated hyperactivity of “Die Rose, die Lilie, die Taube, die Sonne” sounds more like the final throes of love-making than the romantic fancy of a poet dreaming of his beloved, and the opening strophe of “In Rhein, im heiligen Strome” sounds marvelously magisterial in its word-painting of a Cologne cathedral. Unfortunately, the interpretation does break down at points – particularly in the final song “Die alten, bösen Lieder,” which loses its mysterious luster, its final, unresolved ending coming as something of a jarring surprise rather than a wished-for state of unknowing. But Keenlyside has never been in better voice, and what his version of the cycle lacks in subtlety it more than makes up for in beauty of phrasing.
Padmore’s interpretation, however, acts as a mirror-image opposite to Keenlyside’s. Where Keenlyside is urgent, Padmore is plaintive; where Keenlyside is raging, Padmore is disillusioned. Certainly the differences of timbre in the voice account for some of this contrast, but Padmore seems to be heartfelt where Keenlyside is sheer muscle. As a result, listeners might find Padmore’s interpretation to be more enlightening; he is definitely more conscious of the text than Keenlyside. At times the lyricism of Padmore’s voice works to the music’s advantage – as in “Am meinen Tränen spriesen” or the aforementioned “Die alten, bösen Lieder” which, as opposed to Keenlyside’s interpretation, reflects the mysterious nature of the text; at other times it falls short – as in ““In Rhein, im heiligen Strome” which sounds forced and unnatural. Also at times there are minor problems with pitch – a flaw which cannot be found in Keenlyside. But Padmore seems to be opening up windows into the poet’s soul where Keenlyside loudly shuts doors, and the result is a performance with definitely more nuance.
There is a large interpretive gap in the accompaniment as well. Martineau, Keenlyside’s accompanist, bathes a strange yet oddly compelling aura of detachment, as if the poet and pianist inhabited two independent worlds. Bezuidenhout (try saying that name ten times fast!) is much more in sympathy with the soloist, and the odd effect produced by the use of a 19th century fortepiano rather than a modern instrument only enhances the oddness of this work.
The coupling on the Keenlyside is not the usual Liederkreis of Schumann, but 16 little known and immensely compelling songs by Brahms, all of which fit Keenlyside’s voice like the proverbial glove. There are no revelations here, but Brahms’ songs are always rewarding in and of themselves, and Keenlyside appears to have chosen them wisely. Padmore opts for the more expected coupling of Schumann’s Op. 24 (executed beautifully), but he fills the disc out with an amazingly adventurous choice: the Op. 33 Sängerfahrt (“Singer’s Journey”) of Franz Paul Lachner (who is best known for composing the recitatives for Cherubini’s opera Medea). Again, nothing revelatory, but these songs provide a few delightful surprises, and the inclusion of Lachner’s setting of Heine’s “In wunderschönen Monat Mai” provides a fascinating contrast to the better known setting by Schumann in his Dichterliebe.
So which one should you buy? If you love this cycle as much as I do, I would say both – each complements the other exquisitely. However, if strong masculinity at the expense of interpretive nuance is what you’re looking for, take the Keenlyside; if solid insight and sexual ambiguity at the expense of sheer, untarnished beauty of singing is what you’re after, then go for Padmore. Since each of these interpretations asks different questions of the composer and the poet, each uncovers different answers, so it is hard to choose one over the other; they do prove, however, that Schumann’s Dichterliebe is almost inexhaustible in its interpretive possibilities.
KALOMIRIS: Rhapsodies 1 & 2; Lyrics; In St. Luke’s Monastery; Minas the Rebel; The Death of the Valiant Woman – Julia Souglakou, soprano; Eva Kotamanidou, narrator; Russian State Symphonic Capella; Karlovy Vary Symphonic Orchestra; Byron Fidetzis, conductor – Naxos
This is the second disc of works by Manolis Kalomiris that Naxos has issued in its “Greek Classics” series. Like its predecessor it is full of aural wonders; however, the music on this second volume might be considered less representative if one is looking for Greek nationalism in Kalomris’ music – as most of the pieces presented here are from his early period and reflect a much less homogeneous style, with a definite French influence shining forth prominently.
This, in many ways, may be all to the good. Considering the depth of Kalomoris’ music, the wealth of melodic materials at his grasp and a keen ear for orchestration, it is hard to imagine why his works have not taken a foothold in the modern repertoire; as of yet they are little known outside his homeland. Indeed, his music was championed by many well-known conductors and composers of his time, yet it has taken over forty years since the composer’s death (in 1962) for these pieces to be heard on a major record label. However, it might be best to put this question aside and focus on the felicities presented on this very welcome release.
The two rhapsodies that start off the disc began as solo piano pieces in 1921, and, therefore, are the earliest on the disc. Neither were orchestrated by the composer – the first was orchestrated by Pierné in 1925, the second much later by the conductor of the present disc (Byron Fidetzis) in the early 21st century. Neither have much in them that would suggest they were of Greek authorship – yet both are breathtakingly beautiful, full of interesting musical ideas and bold harmonic twists and turns. The first starts off very much in the same vein as Ravel’s Rhapsodie Espagnol – with a dreamy depiction making one think of a sleepy essence, searching its way at nightfall through a sleepy Mediterranean village; yet this tranquil atmosphere is soon broken by an insistent march-like theme. Growing in power, the march soon gives way to an orgiastic revel which ends this short piece (it clocks in at only a little over six minutes) in the full flush of high spirits. Although melodically Kalomiris’ style is recognizable, even at this early date, Pierné’s hand is all too visible, further founding the work solidly in the soil of the French impressionists. The second rhapsody, dating from the same year, is twice as long, and greatly more substantial as a representation of Kalomiris’ work; Fidetzis’ orchestration is much more in sympathy with the composer’s late style of orchestration (evidenced by the other pieces on this disc, as well as the ones presented on Naxos’ earlier disc of this composer’s music). Unlike the first rhapsody, the second does not veer in mood – once again we are in that dreamy, searching vein and the piece ends as mysteriously as it began.
The three Lyrics on this disc are, oddly, reminiscent of the orchestral songs of Szymanowski rather than the ever-present shadow of the French romantics which is so pronounced in the rhapsodies. Unfortunately, the text and translations of these three songs are not included in the booklet, but should be posted on the Naxos website soon-- however, without an idea of what is being represented, it is difficult for the non-Greek speaker to fully understand Kalomiris’ intent here. That being said, we find Kalomiris now (these songs date from the late 30’s) in full possession of an original voice – he has learned here to blend the lightness of the French style with the exoticism of his Mediterranean homeland – resulting in three vocal pieces that penetrate the listener with deep longing. Julia Souglakou’s voice is creamy, rich and rewarding – there is a sort of eternal beauty here which is so necessary to the form, and ultimately makes the question of language irrelevant.
If the need for an English text is not absolutely necessary in the Lyrics, it is almost a definite pre-requisite for the tone-poem In St. Luke’s Monastary. Here, non Greek-speakers without an English translation are really at a loss, as the piece is narrated throughout and the musical moments fragmented and difficult to follow. There are moments to enjoy here – especially the sultry voice of Eva Kotamanidou, the exemplary narrator – but without a real understanding of the text, appreciation is extremely difficult.
Minas the Rebel is an excellent tone poem, yet it falls somewhat short of other examples in the form, particularly those by Liszt or R. Strauss. The piece is based on a novel by Kostis Bastias, a work by which Kalomoiris was highly enthused. While it is full of exciting ideas, the early passages in the tone poem seem somewhat derivative (though derivative of what is difficult to determine) – it is only when a beautiful love motif makes its appearance that the piece begins to glow with an inspired inner charm. This is followed by a serene yet gorgeous melody, perhaps representing Minas’ redemption at the end of the novel, which fittingly redeems the work from its rather banal opening. No, it’s not a Les Preludes or Don Juan, but the beauty of the final two passages and the luxurious orchestration more than makes up for dramatic originality.
The final work on the disc, The Death of the Valiant Woman, a short ballet, rounds out this set of more than enjoyable pieces from the early years of Kalomiris’ career. Again we have determined drama, breathtaking expositional writing, and a bold, persuasive climax, culminating in joyous bells emanating from the percussion section. Worthwhile indeed.
I am very thankful to Naxos that, through their innovation and industry, we are getting to know the works of a truly inspired voice in 20th century music. The pieces on this disc should appeal to anyone who loves modern music – if they lack the acerbity of say, Shostakovich and Bartok, they more than make up for it in melodic invention and their ebullient, almost oriental orchestral writing. This is definitely time well spent; highly recommended.
Ombra Cara- Arias of George Frideric Handel – Bejun Mehta (countertenor); Freiburger Barockorchester; Rene Jacobs (conductor) – Harmonia Mundi
2010 has proven to be an excellent year for Handel lovers: new, complete recordings of Berenice and Athalia have been released on major labels, and several new recitals (such as the lovely one from Max Emannuel Cencic) have flown into the catalog, as unstoppable as the flow of the master’s never-ceasing inspiration for melody itself. But the crown on this year’s Handel projects must certainly be this new release from the (until now) little recorded Bejun Mehta and an old master of the baroque – Rene Jacobs.
Bejun Mehta (son of conductor Zubin Mehta) has been a notable countertenor on the scene for well over a decade now – gaining accolades at the L.A. Opera, the MET, and all over Europe, so it seems surprising that we have had to wait so long for a solo recital from him. Happily, it was worth the wait.
Mehta has chosen familiar counter-tenorial repertoire for his debut – nowhere is there a greater wealth of music suitable for this odd vocal type than in baroque opera, and no composer of baroque opera was greater, as far as richness of melody, contrast of mood, challenging floridity, deeply felt drama and sheer charm than George Frederick Handel. It is only in the last fifty years or so that Handel’s genius has been rediscovered, and Handel recitals, once rare, are now a dime a dozen. But Mehta’s stands out for many reasons.
First of all is Mehta’s choice of selections. The obvious arias are not here – no excerpts from Giulio Cesare, no “Verdi pratti,” no ubiquitous selections from Messiah. Mehta does nod a bit to tradition by including the breathtaking mad scene from Orlando – but most of the selections are mainly from lesser known Handel operas (such as Tolomeo, Rodrigo and Riccardo Primo), or are lesser known selections from the more popular ones.
The combination makes for infinite variety, as does Mehta’s vocal technique. Here Mehta proves that he can handle the difficult coloratura passages of “Fammi combattere” as well as produce enough of a flowing line to master “Con rauco mormorio” memorably.
Mehta proves here that, in an age of radiant countertenors (Daniels, Scholl, Cencic to name but a few), he is up to challenge the best of them. In addition to this is a kind of masculine vocal power that one does not necessarily equate with the countertenor voice (which for years has been somewhat stigmatized by its seemingly “feminine” nature). There is boldness and dramatic adventure in Mehta’s “Sento la gioia,” dark pathos in his “Voi, che udite il mio lamento.” And then, of course, is his mad scene from Orlando. Mehta’s Orlando is strong-willed, forceful, tender when necessary, emotionally unstable, and at all times beautiful. Here, indeed, is living proof that the countertenor voice is a viable one and not just merely a poor substitution for the extinct castrato, as used to be thought. To end all, Mehta caps off the recital with the duet “Per le porte del tormento,” a glorious example of Handel’s melodic mastery which, if this repertoire were better known, should be as regularly heard as “O suave fanciulla” from Puccini’s La Boheme or the letter duet from Figaro. Referring to this duet with the adjective “beautiful” seems to be an extremely weak description – in fact, there are not too many words in the language which could properly describe it. Mehta is joined here by soprano Rosemary Joshua (who also has a few stray lines in “Con rauco mormorio”) and their pairing is spot on, bringing this whole sumptuous feast of Handellian splendor to a suitable, and extremely satisfactory, close.
For his first solo album, Mehta has been given royalty as far as accompanying support – none other than the king of baroque vocal interpretation, Rene Jacobs and the superbly fine Freiburg Baroque Orchestra. Jacobs plays with Mehta at every turn – never against him, and, as usual, the conductor’s insights unearth untold riches even in pieces which the listener has known intimately for many years. Jacobs’ enthusiasm has rubbed off on Mehta, obviously, and Mehta’s on Jacobs, so that one hardly knows where one ends and the other begins. This should be the hoped-for result in any solo recital album, and it is fulfilled marvelously here. Expectations are now high for young Mehta and one can only look forward to his further contributions with keen anticipation.
EVEN MORE REVIEWS by Rubin
Garanca - Habanera/ Italian Radio Orchestra/Chichon
Elina Garaca’s new Deutshe Grammophon is entitled Habanera. If you aren’t aware of Garanca, she is a young Mezzo Soprano from Latvia, has a superb voice used with excellent musicality and, incidentally, she is a superb actress with movie star looks. The title Habanera can mislead you into thinking this is a Carmen recital; it does have Carmen’s three solo arias but also has a varied program that include Spanish and Gypsy influenced arias. It is very rare for non Spanish artist to take on Zarzuela (Spanish Operetta) but Garanca does it perfectly. She also sings music from Bernstein‘s Candide and Balfe’s Bohemian Girl. Even the title track, Habanera, is not hackneyed; it uses Bizet’s rarely heard original version of the aria.
The Italian Radio Orchestra of Milan is led by Karel Mark Chichon in this fine recital.
Part - Symphony # 4- Salonen- L.A. Philharmonic
The Arvo Part Symphony #4 was premiered in 2009 by the L.A. Philharmonic and Essa Pekka Salonen, who perform the work on this ECM disc. Part, who is one of the most popular of contemporary composers, in this work meditates on the existence of angels who protect us. As with almost all of Part’s music, there is a strong spiritual component. The Symphony is not a Symphony in the Beethoven sense with strict form but more like the last 3 Shostakovich Symphonies. There are neo- Bachian passages and resemblance to Shostakovich and the greatly underrated Swedish composer Alan Petterson. The work, though, is not a pastiche but a unified work of considerable depth. As a bonus, choral fragments from Part’s earlier Kanon Pokajanen are included. Both works are recorded beautifully in a spacious but clear acoustic.
Glass - # 2 "American "- McDuffie/ Alsop/London Philharmonic
Philip Glass in 2009 had a request by his friend, violinist Robert McDuffie, to write a violin concerto for him that would be a companion to Vivaldi’s Four Seasons. Glass was initially reluctant but eventually became absorbed by the challenge and quickly composed his Second Violin Concerto, “The American Four Seasons.” Glass leaves it to the listener to figure out which of the four movements represents which season. Rather than compose a traditional solo cadenza, Glass has written four solo pieces -- one that opens the work, Prologue, and the other three, entitled Songs, to play between the movements. The piece has already become popular through radio airplay and Philip Glass’s huge fan base. The recording on the Orange Mountain Label documents the European premiere with McDuffie as soloist and the London Philharmonic under Marin Alsop.
20 CONCERTOS YOU NEED TO OWN by Rubin
Bach - Brandenburg Concertos
Beethoven - Piano Concerto # 4 in G Major
Beethoven - Piano Concerto # 5 in E Flat Major “Emperor”
Beethoven - Violin Concerto in D Major
Brahms - Piano Concerto # 1 in D Minor
Brahms - Piano Concerto # 2 in B Flat Major
Brahms - Violin Concerto in D Major
Chopin - Piano Concerto in E Minor
Dvorak - Cello Concerto in B Minor
Grieg - Piano Concerto in A Minor
Mozart - Piano Concerto # 20 in D Minor
Mozart - Piano Concerto # 21 in C Major
Mozart - Piano Concerto # 24 in C Minor
Mendelssohn - Violin Concerto in E Minor
Rachmaninoff - Piano Concerto # 2 in C Minor
Rachmaninoff - Piano Concerto # 3 in D Minor
Schumann - Piano Concerto in A Minor
Tchaikovsky - Piano Concerto # 1 in B Flat Minor
Tchaikovsky - Violin Concerto in D major
Vivaldi –-Four Seasons
THE 25 SYMPHONIES YOU NEED TO OWN by Rubin
Beethoven – Symphony # 3 in E flat Major “Eroica”
Beethoven – Symphony # 5 in C minor
Beethoven - Symphony # 6 in F major “Pastoral”
Beethoven –-Symphony # 7 in A Major
Beethoven - Symphony # 9 in D minor “Choral”
Berlioz - Symphonie Fantastique
Brahms- Symphony # 1 in C minor
Brahms- Symphony # 2 in D major
Brahms - Symphony # 4 in E minor
Bruckner- Symphony # 4 in E flat Major “Romantic”
Dvorak - Symphony # 9 in E Minor “From the New World”
Franck – Symphony in D minor
Haydn- Symphony # 94 in G Major “Surprise”
Haydn - Symphony # 101 in D major “The Clock”
Mahler - Symphony # 4 in G Major
Mahler - Symphony # 5 in C Sharp Major
Mozart- Symphony # 39 in E Flat Major
Mozart – Symphony # 40 in G minor
Mozart – Symphony # 41 in C Major
Schubert – Symphony # 8 “ in B Minor “Unfinished”
Schubert – Symphony # 9 in C Major “The Great”
Schumann – Symphony # 4 in D Minor
Shostakovich – Symphony # 5 in D Minor
Tchaikovsky – Symphony # 5 in E Minor
Tchaikovsky – Symphony # 6 in B Minor “Pathetique”
You can also check out our newly expanded Buy Stuff section on Amoeba.com for some select Classical releases.