Best Beethoven 100

~ Release by Ludwig van Beethoven (see all versions of this release, 2 available)

Tracklist

1▶CD: Symphonies
2▶CD: Concertos
3▶CD: The Piano
4▶CD: Instrumental Sonatas
5▶CD: Chamber Music
6▼CD: The Voice
#TitleRatingLength
1Ich Liebe Dich, Herrosse
piano:
Geoffrey Parsons (pianist)
baritone vocals:
Olaf Bär (baritone)
recording of:
Zärtliche Liebe, WoO 123 "Ich liebe dich so wie du mich"
lyricist:
Karl Friedrich Wilhelm Herrosee
composer:
Ludwig van Beethoven (German composer) (in 1795)
part of:
Biamonti Catalogue (chronological catalogue of Beethoven's works) (number: Bia 287) and Kinsky catalogue (Beethoven WoO works) (number: WoO 123)
1:46
2Wonne Der Wehmut
piano:
Dalton Baldwin (American pianist)
soprano vocals:
Elly Ameling (soprano)
recording of:
Wonne der Wehmut, op. 83 no. 1
lyricist:
Johann Wolfgang von Goethe
composer:
Ludwig van Beethoven (German composer) (in 1810)
part of:
3 Gesänge von Goethe, op. 83
2:47
3Der Kuss op. 128
piano:
Gerald Moore (pianist)
baritone vocals:
Walter Berry (bass‐baritone)
recording of:
Der Kuß, op. 128
lyricist:
Christian Felix Weiße
composer:
Ludwig van Beethoven (German composer) (from 1798 until 1822)
part of:
Works of Ludwig van Beethoven by opus number (number: op. 128)
2:00
4Der Floh op. 75 Nº 3
piano:
Gerald Moore (pianist)
baritone vocals:
Walter Berry (bass‐baritone)
recording of:
Aus Goethes Faust, op. 75 no. 3
lyricist:
Johann Wolfgang von Goethe
composer:
Ludwig van Beethoven (German composer) (in 1799)
part of:
6 Gesänge, op. 75
2:21
5Irish Songs WoO154. Oh! Would I Were But That Sweet Linnet
producer:
Christfried Bickenbach and Fritz Ganss (producer)
cello:
Irmgard Poppen (cellist) (from 1960-12-01 until 1960-12-03)
piano:
Gerald Moore (pianist) (from 1960-12-01 until 1960-12-03)
violin:
Eduard Drolc (violinist) (from 1960-12-01 until 1960-12-03)
baritone vocals:
Dietrich Fischer‐Dieskau (baritone) (from 1960-12-01 until 1960-12-03)
soprano vocals:
Victoria de los Ángeles (Spanish soprano) (from 1960-12-01 until 1960-12-03)
balance engineer:
Horst Lindner (engineer) (from 1960-12-01 until 1960-12-03)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1962)
recorded at:
Gemeindehaus Studios in Berlin, Germany (from 1960-12-01 until 1960-12-03)
recording of:
12 Irish Songs WoO 154: No. 9, "Oh! Would I Were but That Sweet Linnet!" (from 1960-12-01 until 1960-12-03)
composer:
Ludwig van Beethoven (German composer)
part of:
12 Irish Songs, WoO 154
2:31
6He Promised Me At Parting
producer:
Christfried Bickenbach and Fritz Ganss (producer)
cello:
Irmgard Poppen (cellist) (from 1960-12-01 until 1960-12-03)
piano:
Gerald Moore (pianist) (from 1960-12-01 until 1960-12-03)
violin:
Eduard Drolc (violinist) (from 1960-12-01 until 1960-12-03)
baritone vocals:
Dietrich Fischer‐Dieskau (baritone) (from 1960-12-01 until 1960-12-03)
soprano vocals:
Victoria de los Ángeles (Spanish soprano) (from 1960-12-01 until 1960-12-03)
balance engineer:
Horst Lindner (engineer) (from 1960-12-01 until 1960-12-03)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1962)
recorded at:
Gemeindehaus Studios in Berlin, Germany (from 1960-12-01 until 1960-12-03)
recording of:
12 Irish Songs WoO 154: No. 12, "He Promised Me at Parting" (from 1960-12-01 until 1960-12-03)
composer:
Ludwig van Beethoven (German composer)
part of:
12 Irish Songs, WoO 154
1:25
7Adelaïde
piano:
Hartmut Höll (pianist)
baritone vocals:
Dietrich Fischer‐Dieskau (baritone)
recording of:
Adelaide, op. 46
lyricist:
Friedrich von Matthisson
composer:
Ludwig van Beethoven (German composer) (from 1794 until 1796)
dedicated to:
Friedrich von Matthisson
part of:
Works of Ludwig van Beethoven by opus number (number: op. 46)
5:52
8Marmotte
piano:
Hartmut Höll (pianist)
baritone vocals:
Dietrich Fischer‐Dieskau (baritone)
recording of:
Song for Voice and Piano, op. 52 no. 7 in A minor: Allegretto "Marmotte: Ich komme schon durch manches Land"
lyricist:
Johann Wolfgang von Goethe
composer:
Ludwig van Beethoven (German composer) (in 1792, from 1804 until 1805)
part of:
8 Lieder, op. 52
2:10
9Die Ehre Gottes Aus Der Natur
choir vocals:
New Philharmonia Chorus (London choir aka New Philharmonia Chorus from 1964–1977)
orchestra:
New Philharmonia Orchestra (Philharmonia Orchestra, London orchestra, known as New Philharmonia Orchestra from 1964–1976)
conductor:
Wilhelm Pitz (chorus master)
recording of:
Song for Voice and Piano, op. 48 no. 4 in C major: Majestätisch und erhaben "Die Ehre Gottes in der Natur: Die Himmel rühmen des Ewigen Ehre"
lyricist:
Christian Fürchtegott Gellert
composer:
Ludwig van Beethoven (German composer) (in 1802-03)
part of:
6 Lieder, op. 48
2:32
10Mass in C op. 86
producer:
Suvi Raj Grubb
bass vocals:
Marius Rintzler (Romanian operatic bass) (from 1970-09-15 until 1970-09-18)
choir vocals:
New Philharmonia Chorus (London choir aka New Philharmonia Chorus from 1964–1977) (from 1970-09-15 until 1970-09-18)
mezzo-soprano vocals:
Janet Baker (mezzo‐soprano and alto) (from 1970-09-15 until 1970-09-18)
soprano vocals:
Elly Ameling (soprano) (from 1970-09-15 until 1970-09-18)
tenor vocals:
Theo Altmeyer (German tenor) (from 1970-09-15 until 1970-09-18)
orchestra:
New Philharmonia Orchestra (Philharmonia Orchestra, London orchestra, known as New Philharmonia Orchestra from 1964–1976) (from 1970-09-15 until 1970-09-18)
conductor:
Carlo Maria Giulini (conductor) (from 1970-09-15 until 1970-09-18)
chorus master:
Wilhelm Pitz (chorus master) (from 1970-09-15 until 1970-09-18)
recorded at:
All Saints Church (Tooting, London) in London (Greater London), England, United Kingdom (from 1970-09-15 until 1970-09-18)
recording of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: I. Kyrie. Andante con moto assai vivace quasi Allegretto ma non troppo (from 1970-09-15 until 1970-09-18)
composer:
Ludwig van Beethoven (German composer) (in 1807)
part of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86
5:34
11Missa Solemnis in D op. 123, Gloria in Excelsis Deo
bass vocals:
Hans Tschammer (operatic bass)
choir vocals:
Tallis Chamber Choir
mezzo-soprano vocals:
Waltraud Meier (mezzo-soprano)
soprano vocals:
Carol Vaness (soprano)
tenor vocals:
Hans Peter Blochwitz (tenor)
orchestra:
English Chamber Orchestra
conductor:
Jeffrey Tate (conductor)
recording of:
Missa solemnis D-Dur, op. 123: IIa. Gloria: Allegro vivace: Gloria in excelsis Deo
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: II. Gloria
5:00
12Missa Solemnis in D op. 123, Et Resurrexit Tertia Die
bass vocals:
Hans Tschammer (operatic bass)
choir vocals:
Tallis Chamber Choir
mezzo-soprano vocals:
Waltraud Meier (mezzo-soprano)
soprano vocals:
Carol Vaness (soprano)
tenor vocals:
Hans Peter Blochwitz (tenor)
orchestra:
English Chamber Orchestra
conductor:
Jeffrey Tate (conductor)
recording of:
Missa solemnis D-Dur, op. 123: IIIc. Credo: Allegro ma non troppo: Et resurrexit - Et ascendit in coelum
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: III. Credo
3:00
13Fidelio Overture - Ludwig van Beethoven
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Herbert von Karajan (conductor)
recording of:
Fidelio, op. 72: Overture (1814 version, sometimes op. 72b or op. 72c)
composer:
Ludwig van Beethoven (German composer) (in 1814)
part of:
Fidelio, op. 72 (1814 version)
revision of:
Fidelio/Leonore Overture op. 72/72a/72b/72c/138 (catch-all for unknown version)
6:59
14Fidelio O Wär' Ich Schon Mit Dir Vereint
producer:
Michel Glotz
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin)
soprano vocals [Marzelline]:
Helen Donath (soprano) (from 1970-10 until 1970-12)
vocals:
Helen Donath (soprano)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra) (from 1970-10 until 1970-12)
conductor:
Herbert von Karajan (conductor) (from 1970-10 until 1970-12)
balance engineer:
Wolfgang Gülich (engineer) (from 1970-10 until 1970-12)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (from 1970-10 until 1970-12)
recording of:
Fidelio, op. 72: Act I, Scene I, no. 2a. Aria "O wär' ich schon mit dir vereint" (Marzelline) (from 1970-10 until 1970-12)
composer:
Ludwig van Beethoven (German composer) (in 1814)
additional librettist:
Georg Friedrich Treitschke
librettist:
Jean-Nicolas Bouilly and Joseph Sonnleithner
translator:
Joseph Sonnleithner
part of:
Fidelio, op. 72: Akt I
4:03
15Fidelio Mir Ist So Wunderbar
producer:
Michel Glotz
bass vocals:
Karl Riddersbusch (operatic bass)
bass vocals [Rocco]:
José van Dam (Belgian operatic bass-baritone) (from 1970-10 until 1970-12)
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin)
soprano vocals [Leonore]:
Helga Dernesch (Austrian soprano and mezzo‐soprano) (from 1970-10 until 1970-12)
soprano vocals [Marzelline]:
Helen Donath (soprano) (from 1970-10 until 1970-12)
tenor vocals [Jaquino]:
Horst Laubenthal (tenor) (from 1970-10 until 1970-12)
vocals:
Helga Dernesch (Austrian soprano and mezzo‐soprano), Helen Donath (soprano), Horst Laubenthal (tenor) and Karl Ridderbusch (operatic bass)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra) (from 1970-10 until 1970-12)
conductor:
Herbert von Karajan (conductor) (from 1970-10 until 1970-12)
balance engineer:
Wolfgang Gülich (engineer) (from 1970-10 until 1970-12)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (from 1970-10 until 1970-12)
recording of:
Fidelio, op. 72: Act I, Scene I, no. 3a. Quartet "Mir ist so wunderbar" (Marzelline, Leonore, Rocco, Jaquino) (from 1970-10 until 1970-12)
composer:
Ludwig van Beethoven (German composer) (in 1805)
additional librettist:
Georg Friedrich Treitschke
librettist:
Jean-Nicolas Bouilly
revised by:
Ludwig van Beethoven (German composer) (in 1814)
translator:
Joseph Sonnleithner
part of:
Fidelio, op. 72: Akt I
4:45
16Fidelio Ha! Welch Ein Augenblick!
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin)
vocals:
Helga Dernesch (Austrian soprano and mezzo‐soprano), Helen Donath (soprano), Siegfried Rudolf Frese (German operatic bass-baritone), Werner Hollweg (tenor), Zoltán Kelemen (operatic bass), Horst Laubenthal (tenor), Karl Ridderbusch (operatic bass), José van Dam (Belgian operatic bass-baritone) and Jon Vickers (tenor)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Herbert von Karajan (conductor)
recording of:
Fidelio, op. 72: Act I, Scene II, no. 7a. Aria "Ha! Welch ein Augenblick!" (Pizarro, Chorus)
composer:
Ludwig van Beethoven (German composer) (in 1814)
additional librettist:
Georg Friedrich Treitschke
librettist:
Jean-Nicolas Bouilly
translator:
Joseph Sonnleithner
part of:
Fidelio, op. 72: Akt I
3:01
17Fidelio Abscheulicher! Wo Eilst Du Hin?...Komm, Hoffnung
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin)
vocals:
Helga Dernesch (Austrian soprano and mezzo‐soprano), Helen Donath (soprano), Siegfried Rudolf Frese (German operatic bass-baritone), Werner Hollweg (tenor), Zoltán Kelemen (operatic bass), Horst Laubenthal (tenor), Karl Ridderbusch (operatic bass), José van Dam (Belgian operatic bass-baritone) and Jon Vickers (tenor)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Herbert von Karajan (conductor)
recording of:
Fidelio, op. 72: Act I, Scene II, no. 9a. Recitative "Abscheulicher! Wo eilst du hin? " - Aria "Komm, Hoffnung, lass den letzten Stern" (Leonore)
composer:
Ludwig van Beethoven (German composer) (in 1814)
part of:
Fidelio, op. 72: Akt I
7:38
18Fidelio O Welche Lust!
producer:
Michel Glotz
choir vocals:
Chor der Deutschen Staatsoper Berlin and Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin) (from 1970-10 until 1970-12)
vocals:
Siegfried Rudolf Frese (German operatic bass-baritone) and Werner Hollweg (tenor)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra) (from 1970-10 until 1970-12)
conductor:
Herbert von Karajan (conductor) (from 1970-10 until 1970-12)
balance engineer:
Wolfgang Gülich (engineer) (from 1970-10 until 1970-12)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (from 1970-10 until 1970-12)
recording of:
Fidelio, op. 72: Act I, Scene II, no. 10a. Prisoner’s Chorus „O welche Lust, in freier Luft“ (Chor, 1st Prisoner, 2nd Prisoner) (from 1970-10 until 1970-12)
composer:
Ludwig van Beethoven (German composer) (in 1805, in 1814)
additional librettist:
Georg Friedrich Treitschke
librettist:
Jean-Nicolas Bouilly
translator:
Joseph Sonnleithner
part of:
Fidelio, op. 72: Akt I
7:21
19Fidelio O Namenlose Freude!
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin)
vocals:
Helga Dernesch (Austrian soprano and mezzo‐soprano), Helen Donath (soprano), Siegfried Rudolf Frese (German operatic bass-baritone), Werner Hollweg (tenor), Zoltán Kelemen (operatic bass), Horst Laubenthal (tenor), Karl Ridderbusch (operatic bass), José van Dam (Belgian operatic bass-baritone) and Jon Vickers (tenor)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Herbert von Karajan (conductor)
recording of:
Fidelio, op. 72: Act II, Scene I, no. 15. Duet “O namenlose Freude!” (Leonore, Florestan)
composer:
Ludwig van Beethoven (German composer) (in 1814)
additional librettist:
Georg Friedrich Treitschke
librettist:
Jean-Nicolas Bouilly
translator:
Joseph Sonnleithner
part of:
Fidelio, op. 72: Akt II
3:02
20Fidelio Wer Ein Holdes Weib Errungen
baritone vocals:
José van Dam (Belgian operatic bass-baritone)
bass vocals:
Karl Riddersbusch (operatic bass) and Zoltán Kelemen (operatic bass)
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin)
soprano vocals:
Helga Dernesch (Austrian soprano and mezzo‐soprano) and Helen Donath (soprano)
vocals:
Helga Dernesch (Austrian soprano and mezzo‐soprano), Helen Donath (soprano), Zoltán Kelemen (operatic bass), Karl Ridderbusch (operatic bass), José van Dam (Belgian operatic bass-baritone) and Jon Vickers (tenor)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Herbert von Karajan (conductor)
recording of:
Fidelio, op. 72: Act II, Scene II, no. 16f. "Wer ein holdes Weib errungen" (Don Fernando, Florestan, Leonore, Marzelline, Rocco, Jaquino)
composer:
Ludwig van Beethoven (German composer) (in 1814)
additional librettist:
Georg Friedrich Treitschke
librettist:
Jean-Nicolas Bouilly
translator:
Joseph Sonnleithner
part of:
Fidelio, op. 72: Act II, Scene II, no. 16. Finale "Heil sei dem Tag" (Chor, Don Fernando, Rocco, Pizarro, Florestan, Leonore, Marzelline, Jaquino) (complete finale)
4:01