111 Years of Deutsche Grammophon: 55 CD Anthology [Box set, Collector's Edition, Limited Edition]

Various Artists (Artist) | Format: Audio CD

Product Details

• Audio CD (October 20, 2009)
• Number of Discs: 55
• Format: Box set, Collector's Edition, Limited Edition
• Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
• Label: Deutsche Grammophon
• ASIN: B002DZX95I
• In-Print Editions: MP3 Download
• Average Customer Review: 4.6 out of 5 stars  See all reviews (8 customer reviews)
• Amazon Best Sellers Rank: #16,130 in Music (See Top 100 in Music)

Track Listings

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Editorial Reviews

From the Artist

"With 111 years of history behind it, Deutsche Grammophon remains the world's largest and proudest classical music label. Since its 100th anniversary eleven years ago, it has continued to thrive in an especially challenging global environment for recorded music. For me, in nearly two decades of leading the worldwide classical-music business for Universal, it has been a huge but rewarding challenge to help guide this great label into the future. Deutsche Grammophon continues to flourish because it has never lost sight of its underlying philosophy: Support the artist with the means to make great music and deliver this great music to the public in a beautiful package with creative ideas." Christopher Roberts President Classics and Jazz Universal Music Group International

For me, Deutsche Grammophon's anniversary also represents an exceptionally fruitful collabo-ration between artist and record label. I congratulate Deutsche Grammophon's great team on this unique anniversary - may they continue to bring unprecedented beauty to the ears of the world. Anne-Sophie Mutter

In the world of classical music, Deutsche Grammophon's Yellow Label has long been acknowl-edged as a symbol of high quality, and it still is today. My own relationship with the company, although not exclusive, has been an extremely productive one, and it has been going on for about forty percent of Deutsche Grammo­phon's 111-year history! Plácido Domingo

My earliest musical memories are my mother playing the piano and the sounds from my parents' record collection. Those records, mainly Deutsche Grammophon LPs, were both my conserva-tory and the gates to a magic world of possibility in sound and drama. When listening to them as a child growing up in a small town in Argentina in the 1960s, I was in the house, in the world, but in another world as well. This form of ritual listening has changed with the new technologies, but I will cherish it forever, as a key experience of my early life and one that also shaped me as an adult. I feel profoundly grateful for those memories, and honoured to have my music now part of the DG world. Osvaldo Golijov

What makes DG such a special record company? It's much more than an impressive history, tradition and catalogue. It's the people at the label who carry the torch into the future and make up a real family and creative home for so many of today's musicians. Everyone in this team im-plements a strong and courageous vision with total dedication and energy - not only physical and mental, but often emotional as well. For that is truly what makes the difference: they engage their hearts to create a fertile and inspiring environment for us musicians. Congratulations on this remarkable anniversary and many happy returns. Hélène Grimaud

It is a great honour for me to join DG's family of exceptional musicians and singers, and to be part of a label which has an extremely rich history and tradition. For me, DG is also a testimony of past and future generations and I would like to carry on this tradition. Patricia Petibon

Since I came to Deutsche Grammophon, my life has been one exciting musical challenge after another. And my record company is always by my side to capture every moment for listeners and viewers everywhere. Thank you, DG, and Happy Birthday! Anna Netrebko

Deutsche Grammophon has given me and the Simón Bolívar Youth Orchestra of Venezuela incredible opportunities and encouragement. Thank you, DG, and congratulations on another milestone anniversary. Gustavo Dudamel

Deutsche Grammophon represents a wonderful tradition of making timeless music accessible to many people and preserving great interpretations for future generations. I admire DG because both of these things are of paramount importance to me as a musician and as a human being. In its 111 years Deutsche Grammophon managed to find unique synergy between the traditional and the new. I felt this very strongly in all our col­laborations. I salute this amazing label and wish its team continued success and inspiration. Lang Lang

I have recorded for Deutsche Grammophon for nearly 40 years. During this time we have docu­mented a large part of my repertoire, including major works of contemporary music. I have always found the greatest professionalism in the people who collaborate with me - from executives to recording producers and technicians. I shall always be grateful to Deutsche Grammophon for enabling me to work under the best imaginable conditions. Deutsche Grammophon Gesellschaft in all these years has played a highly important role in producing discs which, along with the most famous titles, also include important works that are not so popular - with a strong presence in chamber and early as well as contemporary music. In the difficult current situation, nearly all the recording companies and concert organizations find themselves confronted with an awkward decision: should they take the easier, more com-mercial path, based on easily marketable works? In my view, that would be a great mistake. My wish is that the all-important role of these institutions in making all music available will con-tinue in the future. I am convinced that despite the difficulties in the long run that would be the more fortunate choice. Maurizio Pollini

My father worked in a recording company when I was a boy, and he used to bring a lot of LPs to our house. He brought mostly recordings from the label he was working with (CBS), but some-times also some from other labels and whenever he brought home a DG album, it somehow seemed to me that it "weighed" more. What made it heavier? Tradition, quality, art - and some¬thing else that I was not able to explain then. I felt that what I held in my hands (and heard in my ears) was not only an LP, but an artistic object, a little treasure. The same elements that gave weight to LPs then continue to be present in the CD of today, but DG has also been alert and dynamic, and reacted to the challenges of modernity. It remains the label with the oldest and best tradition, but is also the most modern classical label. Being part of DG is a big responsibil-ity and has allowed me to understand that other element I could not explain as a child: What makes DG the label it is, are the people working there. All of them are knowledgeable, passion-ate, adventurous and full of enthusiasm. To all of those who have built the great yellow label in these 111 years I say "Congratulations", and to all of you whom I am lucky to work with I say, from the bottom of my heart: Thank you! Rolando Villazón

To me, Deutsche Grammophon represents a record company that is the reference standard for classical music, so it meant a great deal to me when at the age of 40 I first signed with them. To be accepted by that family of musicians gave me a very good feeling. My best reminiscences of DG have to include recording the Schumann Concerto with Claudio Ab-bado. That was very special. Another special moment was when I signed my first contract in the old Vienna office with Aman Pedersen, and I still think very fondly of the first meeting I ever had with Dr. Andreas Holschneider, and how he impressed me with his culture and vast knowledge. The quality of the recordings on the DG label is always very high indeed. The expertise of the recording teams I have worked with has always been of the very highest order, and I have had the good fortune of working with the same Tonmeister (Helmut Burk) on most of my records. DG has always provided excellent conditions in which to work (something not always found in the recording business), and I am most appre­ciative for the support and understanding I have received from the company during the many years of our collaboration. Maria João Pires

Deutsche Grammophon for me has always meant a guarantee of quality. Now it's also a musical family I feel very close to, with the finest artists and the top professionals in the recording busi-ness. If you work with only the best, then the results are bound to be the best. Elīna Garanča

Deutsche Grammophon and I have had a wonderful working relationship for close to two dec-ades. No label could be more open to its artists' wishes, and for me that's meant doing a huge variety of repertoire. When I was keen to make a Wagner disc with Claudio [Abbado] and the Berlin Phil, DG was only too happy to make that possible. And when I wanted to do an album of Lerner and Loewe, they were with me all the way. One couldn't ask for more. I look forward to many more years of this rewarding collabora­tion and wish Deutsche Grammophon all the best on its anniversary. Bryn Terfel

With Deutsche Grammophon I have at my disposal the finest recording engineers and an artistic team that perfectly understands my musical intentions - in short, Deutsche Grammophon and I speak the same language. Herbert von Karajan (1968)

Deutsche Grammophon represents to me - and to the music industry - an ideal platform for "re-cording" in the classical sense of the word as well as a constant source of fresh ideas in new pro-ductions. May these qualities continue to distinguish the label and ensure its illustrious reputation! Dietrich Fischer-Dieskau

Deutsche Grammophon for me has always been the outstanding label in classical music. So it was a dream come true when, after recording Mahler's "Des Knaben Wunderhorn" with Claudio Ab-bado and the Berliner Philharmoniker, I was offered an exclusive contract. Ten years have passed since then. During this time I've even had the opportunity to make a jazz album for the classical label Deutsche Grammophon, and that's been a special source of joy and great pride. Thomas Quasthoff

It has been a pleasure to have collaborated with Deutsche Grammophon since 1967. From the start, this experience has been enjoyable: imagine what it's like to begin one's relationship by recording the Prokofiev and Ravel piano con­certos with Martha Argerich and the Berliner Philharmoniker! And now, for more than forty years, we have maintained this outstanding rela-tionship - based on common aesthetic, artistic, and technical aims. During these four decades, Deutsche Grammophon committed itself to make great recordings with Beethoven, Brahms, Mahler, and Schubert cycles - as well as Mozart's major operas. It is a wonderful opportunity for an artist to record for DG, not only because of its unparalleled history but for its artistic ex-cellence. I've witnessed its continual support for both musicians and for outstanding orchestras like the Berliner Philharmoniker, as well as for new orchestras such as the Mozart Orchestra with which we have recently recorded Mozart's late symphonies and Pergolesi's sacred master-works -- I have deeply enjoyed working with such passionate professionals, devoted to their cause and sharing common ambitions to serve music, musicians, and repertoire. Happy anniversary, Deutsche Grammophon, Claudio Abbado

Since the recording of my first "Parsifal", in 1970, DG has played a central role in the preser-vation, promotion and distribution of my interpretations. With all my best wishes for your con-tinued success. Pierre Boulez

It is so rewarding to collaborate artistically with a company that has such a legacy of mutual respect and understanding with its artists. I have enjoyed every minute of my part in that legacy, and I'm honoured to be connected with the company's illustrious name. May Deutsche Gram-mophon flourish another 111 - or 222 or 333! - years to continue to make history. Hilary Hahn

There are not many of us lucky artists of my generation who were given the extraordi­nary chance to get married to a major recording label so young. Over the years making recordings has become an essential part of my work. I am grateful for any soul who - surely feeling from time to time like Don Quixote - cares and battles for classical ­music and its future. Thank you to every one who makes these unique and special experiences happen. Happy anniversary! Magdalena Kozená

Even before we became Deutsche Grammophon artists in 1987, and in the 22 years since, we have always thought of DG as the pinnacle of achievement in the classical recording industry. We were thrilled when we learned of the company's interest in us; it was an honour to be in-cluded among the legendary musicians on its roster. Having recorded a great deal of the mag-nificent string quartet repertoire, and quintets with such artists as Mstislav Rostropovich, Me-nahem Pressler and Leon Fleisher, we feel that our relationship with DG has represented a major part of our career and will form an even greater part of our legacy. Eugene Drucker, for the Emerson String Quartet

I have had a great 15 years working with Deutsche Grammophon, starting from "early" early music and ending up with many of the classics of the oratorio tradition. DG has always been an artistic family; and I was honoured and privileged to be a part of it and to follow such a great legacy of fantastic musicians in history. Paul McCreesh

Deutsche Grammophon represents to me a fine team of people which, despite turbulent market times, is committed to producing core classical music documents of uncompromised quality. Deutsche Grammophon is now a great partner in my musical life. Vadim Repin

I've been a professional musician for over three decades now, and I thought there were few dreams left unrealized, but when I saw the first Deutsche Grammophon release of my own works it felt like some kind of milestone. To have one's own music alongside the old masters on a label committed to the best is an awesome and somewhat scary privilege. Esa-Pekka Salonen

I came to Deutsche Grammophon with totally different projects from anything I'd done before, and the DG team has always given me the freedom to realize them with complete confidence. I'm also honoured that my previous recital discs have all been reissued by this prestigious label and integrated into its catalogue for worldwide release. Deutsche Grammophon continues to re-spond to and support my aspirations. Roberto Alagna

It is so rewarding to collaborate artistically with a company that has such a legacy of mutual respect and understanding with its artists. I have enjoyed every minute of my part in that legacy, and I'm honoured to be connected with the company's illustrious name. It is a surprising fact that the Amadeus Quartet, in its recording history from 1950 until 1987, encompassed, with the exception of course of the pre-electric period, the entire history of recording from the 78s (in-cluding the brief time DG had the 9-minute side) to 33s and finally CDs. I well remember Dr. Steinhausen, who was responsible for the excellent reputation of DG's superb quality of recording and frequently had us to lunch while we were in Hannover for re-cordings. Now that my three colleagues have all died, and I alone am alive to see the latest celebration of DG, I would like to take this opportunity of wishing DG a further 50 years of success. Martin Lovett (cellist, Amadeus Quartet)

I am happy and grateful to be one of the Deutsche Grammophon artists celebrating 111 years of its history. This 3-digit number is a triple confirmation of the company's fidelity to classical mu-sic, to its professionalism, and to its willingness to share the beauty of art with millions of music lovers all around the world. I also firmly believe that Deutsche Grammophon's respect for tradi-tion and never-ending quest for perfection will ensure that these words are still true 111 years from now. Rafał Blechacz

Product Description

Jacketed in their original cover-art, the fifty-five albums that comprise The Collector's Edition offer decade-spanning highlights of Deutsche Grammophon's master musicians interpreting masterworks. These landmark albums offer their complete, original programs and, in some cases, additional music has been added. Thoughtfully chosen and unprecedented in scope, this 55-CD anthology of pivotal Deutsche Grammophon artists - from Claudio Abbado to Krystian Zimerman - covers centuries of music - from Monteverdi to Pärt - giving tangible testimony to our company's commitment to audio quality equal to these musicians' talents. While no collection surveying 111 years of Deutsche Grammophon can be comprehensive on (only!) fifty-five discs; as a "miniature musical reference library", The Collector's Edition is the classical-music jukebox of one's dreams - and is offered at an exceptional price.

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Customer Reviews

Most Helpful Customer Reviews

98 of 99 people found the following review helpful:

5.0 out of 5 stars Tight red box of 51 artists, October 20, 2009

By 

Malverns (Europe) - See all my reviews

This review is from: 111 Years of Deutsche Grammophon: 55 CD Anthology (Audio CD)

It is inevitable that keen collectors of DGG cds will face some duplication with this set, but I was positively surprised there is indeed a lot of records I have not listened or bought before (albeit they are so easily available). Such positive personal finds are Carmignola Vivaldi, Giulini/Doningo Opera gala, Gardiner/Monteverdi, Otter/Lamenti, Pires/Chopin, Pogorelich/Scarlatti to name a few. Only complete works are selected - not highlights or single moments (except aria recitals). Most cds are by contents the same as published in various series, typically "Originals" during the last years. As an example, in Pinnock's Vivaldi recording, some later bonus concertos are added to original cd which had only " 4 seasons"- the contents here is identical to "Originals" reissue, but cover is from the first cd version. All recordings I have listened seem to be very good, some exceptional like Gardiner's Monteverdi (earliest composer of the set with Praetorius) Vespers which is so rich in dynamic contrasts it can be almost problematic for some listeners! Yet, I liked the energy of Gardiner's interpretation very much and I am very happy to have also this set of Vespers. Well-filled (mostly) 55 cds is a huge amount of music and I have not have enough time to check everything, but just like to give my first impressions. I think masterings used are same as in the earlier editions of each cd before this set.

The red/yellow packet is very compact, cds in cardboards placed like archive cards towards opener - very nicely organized in alphabetical order by performer (Abbabo-Zimerman) - so the set is a sort of tribute to 51 selected artists of the label (Fournier, Gardiner, Pires and K.Richter are double cds) rather than to composers. The thick soft leaflet in the box summarize nicely works and a shortish essay "Chronology" (in English, German and French) telling highlights of all DGG decades, with some nice photos: factories, designing DGG logo, artists etc. Finishing quality is very impressive for the price, but there is no room for music text and translations.

One cannot have everything in 55 cds, but I think there might have been more space for modern music in the set. Now everything seem to end with Stravinsky Rite - with some exception of Pärt and Corigliano pieces in Grimaud cd! I think Sinopoli (also missing artist) recording of Manzoni or Frank Martin/Fischer recording would have added up something to the set and this lastly mentioned cd is also hard to find. Positive thing is quite many recent recordings are included, from artists Dudamel, Kozena, Lang Lang,Netrebko, Quasthoff and Villazon to name a few.

There are many great, old and dear classics: Furtwängler/Schumann 4th symphony, Fournier's Bach, Chopin by Argerich and Pollini, Horowitz in Moscow, Kleiber's Beethoven, Kempff, Oistrach, Rostropovich, Richter... and a marvelous Walcha all Bach organ recital - a personal favorite. There are only a few mono recordings from 1950's, one example Verdi's Requiem by Fricsay (1953) or Haydn 88 by Furtwängler (1951) which is the earliest recording in the set.

I recommend the set warmly - for starters and collectors as well. It is huge box of great music and at least fine interpretations - from the great traditional label. I guess the separate 111 Book will give more detailed view to interesting and quite complex history of DGG, but this leaflet is a good start.

It is sometimes very annoying to list the contents of cds in review, but here it is in edited form to save space and give you at least clue to get more details elsewhere (Years usually refer to recording year).

1.CD Claudio Abbado: Brahms, Ungarische Tänze Nr. 1-21 (Wien PO/1982)
2.CD Amadeus Quartett: Beethoven, Streichquartette Nr. 7 & 15 (1959 / 1962)
3.CD Martha Argerich: Chopin, Preludes Nr. 1-26; Klaviersonate Nr. 3 op. 35 (1976)
4.CD Daniel Barenboim: Ravel, La Valse; Daphnis et Chloe-Suite Nr. 2; Pavane (Orchestre de Paris / 1981)
5.CD Arturo Benedetti Michelangeli: Debussy, Preludes Heft 1; Images I & II (1977)
6.CD Leonard Bernstein: Berstein, West Side Story / 1984)
7.CD Karl Böhm: Mozart, Requiem KV 626 (Mathis, Hamari, Ochmann, Wien PO/1971)
8.CD Pierre Boulez: Strawinsky, Le Sacre du Printemps; Der Feuervogel (Cleveland O, Chicago SO/1991)
9.CD G.Carmignola: Vivaldi, Violinkonzerte RV 190, 217, 303, 325, 331 (Venice Baroque O, A Marcon / 2005)
10.CD Placido Domingo / Carlo Maria Giulini: Opera Gala (Los Angeles PO, Giulini / 1981)
11.CD Gustavo Dudamel: Mahler, Symphonie Nr. 5 (Simon Bolivar Youth Orchestra of Venezuela / 2006)
12.CD Emerson Quartet: Bach, Die Kunst der Fuge BWV 1080 für Streichquartett (2002)
13.CD Dietrich Fischer Dieskau: Schubert, Winterreise D. 911 (Gerald Moore, Klavier / 1971)
14.& 15.CD Pierre Fournier: Bach, Cellosuiten BWV 1007-1012 (1960)
16.CD Ferenc Fricsay: Verdi, Requiem (Stader, Radev, Krebs, Borg, RIAS SO/1953)
17.CD Wilhelm Furtwängler: Schumann, Symph. Nr. 4 / Haydn, Symphonie Nr. 88 (Berlin PO/1953 / 1951)
18.& 19.CD John Eliot Gardiner: Monteverdi, Vespro della beata vergine; Magnificat a sei voci (Monoyios, Pennicchi, Chance, Tucker, Robson, Monteverdi Choir, English Baroque Soloists / 1989)
20.CD Emil Gilels: Beethoven, Klaviersonaten Nr. 21, 23, 26 (1971-1974)
21.CD Reinhard Goebel: Bach, Orchestersuiten Nr. 2 & 5 / Pachelbel, Canon & Gigue in D/Händel, Sonate für 2 Violinen HWV 399 / Vivaldi, Sonate für 2 Violinen RV 63 (Musica Antiqua Köln / 1982)
22.CD Hélene Grimaud: Credo: Pärt, Credo for Piano, Choir & Orchestra / Beethoven, Piano Sonata Nr. 17 "Tempest"; Chorfantasie op. 80 / Corigliano, Fantasie (Swedish Radio Choir, Swe. RSO, E-P Salonen / 2002)
23.CD Hilary Hahn: Bach, Violinkonzerte BWV 1041-1043, 160 ((BWV 1043 für 2 Violinen; BWV 1060 für Violine & Oboe) (Hilary Hahn, Margaret Batjer, Allan Vogel, LA Chamber Orchestra, Jeffrey Kahane / 2003)
24.CD V. Horowitz: In Moscow: Scarlatti, Mozart, Rachmaninoff, Scriabin, Chopin, Schumann,etc (1985)
25.CD Eugen Jochum: Orff, Carmina Burana (Janowitz, Stolze, Fischer-Dieskau, O der D. Oper Berlin / 1968)
26.CD Herbert von Karajan: Beethoven, Symphonie Nr. 9; Coriolan-Ouvertüre op. 62 Berlin PO/1962)
27.CD Wilhelm Kempff: Beethoven, Klavierkonzerte Nr. 4 & 5 (Berlin PO, Leitner / 1962)
28.CD Carlos Kleiber: Beethoven, Symphonien Nr. 5 & 7 (Wien PO/1974 / 1975)
29.CD Magdalena Kozena: Handel Arien (Venice Baroque Orchestra, Andrea Marcon / 2006)
30.CD Rafael Kubelik: Dvorak, Symphonien Nr. 8 & 9 (Berlin PO/1967 / 1972)
31.CD Lang Lang: Tschaikowsky, Klavierkonzert Nr. 1 op. 23 / Mendelssohn, Klavierkonzert Nr. 1 op. 25 (Chicago SO, Daniel Barenboim / 2003)
32.CD Lorin Maazel: Mendelssohn, Symphonien Nr. 4 & 5 (Berlin PO/1961)
33.CD Mischa Maisky: Werke von Saint-Saens, Faure, Respighi, Dvorak, Glasunow, Tschaikowsky, Bruch, Strauss, Haydn (Orchestre de Paris, Bychkov / 1991)
34.CD Igor Markevitch: Cherubini, Anacreon-Ouvertüre / Auber, La Muette de Portici-Ouvertüre (Lamoureux Orchestra / 1958)
35.CD Paul McCreesh: Praetorius, Christmette (Lutherian Christmas Morning Mass ) (Gabrieli Consort & Players / 1993)
36.CD Marc Minkowski: Rameau, Une Symphonie imaginaire ((Suite of 20 Orchestral pieces from 11 Rameau-Operas,selected by Marc Minkowski) (Les Musiciens du Louvre / 2004)
37.CD Anne Sophie Mutter: Brahms, Konzert für Violine, Cello & Orchester op. 102; Violinkonzert op. 77 (Mutter, Meneses, Berlin PO, Karajan / 1983 / 1981)
38.CD Anna Netrebko: Opera Arias - Szenen & Arien von Mozart, Berlioz, Bellini, Donizetti, Puccini, Massenet, Gounod, Dvorak (Wien PO, GIanandrea Noseda / 2001)
39.CD David Oistrach: Tschaikowsky, Violinkonzert op. 35 / Wieniawski, 3 Etudes-Caprices / Sarasate, Navarra op. 33 (Staatskapelle Dresden, Gewandhausorchester Leipzig, Konwitschny / 1961)
40.CD Anne Sofie von Otter: Lamenti (Musica Antiqua Köln, Reinhard Goebel (1997)
41.CD Trevor Pinnock: Vivaldi, Concerti op. 8 Nr. 1-4, RV 548; Konzert für 2 Violinen RV 516 (Standage, Willcock, The English Consort / 1981)
42.& 43.CD Maria Joao Pires: Chopin, Nocturnes Nr. 1-21 (1995)
44.CD I. Pogorelich: Scarlatti, Klaviersonaten K. 1,8, 9,11,13,20,87,98,119,135,159,380,450,487,529 (1991)
45.CD Maurizio Pollini: Chopin, Etüden Nr. 1-24 (1971)
46.CD Thomas Quasthoff: Die Stimme - Arien & Duette von Lortzing, Wagner, Weber, Strauss (Quasthoff, Oelze, Orchester der Deutschen Oper Berlin, Thielemann / 2001)
47.& 48.CD Karl Richter: Bach, Messe h-moll BWV 232 / 1961)
49.CD Svjatoslav Richter: Rachmaninoff, Klavierkonzert Nr. 2, 6 Preludes (Warschau PO, Wislocki / 1959)
50.CD M.Rostropovich: Dvorak, Cellokonzert/ Tschaikowsky, Rokoko-Variationen (BPO, Karajan / 1968)
51.CD Bryn Terfel: The Vagabond - Vaughan Williams, Finzi, Butterworth, Ireland, (Malcolm Martineau, Klavier / 1994)
52.CD Rolando Villazon: Cielo e mar - Cilea, Donizetti, Gomes, Mercadante, Ponchielli, Verdi, Boito, Pietri (Giuseppe Verdi Chor & SO Mailand, Danielle Callegari / 2007)
53.CD Helmut Walcha: Bach, Toccata & Fuge d-moll BWV 565; Präludium & Fuge BWV 552; Triosonate BWV 525; Partita BWV 768; Choräle BWV 645-650 "Schübler-Choräle" (Orgel Laurenskerk Alkmaar / 1958-1963)
54.CD Fritz Wunderlich: Schumann, Dichterliebe, Beethoven, Schubert (Hubert Giesen, Klavier /1965)
55.CD Krystian Zimerman: Liszt, Klavierkonzerte Nr. 1 & 2; Totentanz für Klavier & Orchester (Boston SO, Ozawa / 1987)

48 of 49 people found the following review helpful:

4.0 out of 5 stars Deutsche Grammophon, Baroque to Broadway, November 2, 2009

By 

Roochak - See all my reviews

This review is from: 111 Years of Deutsche Grammophon: 55 CD Anthology (Audio CD)

This is a pretty good anthology covering just under sixty years of activity at Deutsche Grammophon. 111 years? Well, the earliest recording in this collection is Furtwaengler's 1951 Haydn G major symphony, but we get the picture. This well-designed box is a grab bag of classical bestsellers, most of them critically praised, with a generous sampling of the superstar performers du jour (Lang, Hahn, Dudamel, etc.). Unless you're a classical music novice, you'll already have several of the albums in this box. You'll also be getting a lot of music you haven't heard yet, and at a great price.

It's inevitable that a lot would be missing from DG's 55-disc survey, and in this case there's no music at all by Bruckner, Sibelius, Grieg, Prokofiev, Rossini, or Shostakovich, and Wagner is represented only by two arias from "Tannhauser." Chamber music is barely touched upon, and contemporary music, apart from a couple of piano pieces by Corigliano and Part, is ignored. What's included is the complete Monteverdi Vespers (Gardiner), the complete Chopin Nocturnes (Pires), Bach's complete cello suites (Fournier) and the B minor Mass (Karl Richter), and a fascinating package tour of everything from Scarlatti keyboard sonatas and symphonic Rameau arrangements to "West Side Story" and a string quartet version of "The Art of Fugue." Not bad for a basic music library in a box. Not bad at all.

An illustrated 140-page booklet contains a brief history of Deutsche Grammophon in English, German, and French as well as personnel and track listings for each CD, but no liner notes on the music and no song texts. I prefer to see this as a compliment to the listener.

EDIT:
I thought it would be interesting to see which classical music genres were apparently the most popular among listeners -- or at least the most heavily represented in DG's "111" box. Of the 55 discs, there are:
9 discs of solo piano
8 discs of music for chorus & orchestra (excluding the Beethoven 9th)
7 discs of symphonies
6 male vocal recitals
5 discs of violin concertos
5 discs of non-symphonic orchestral music
4 discs of piano concertos
3 female vocal recitals
2 discs of string quartets
2 discs of music for cello & orchestra
2 discs of unaccompanied cello
1 organ recital
1 Broadway musical

44 of 55 people found the following review helpful:

3.0 out of 5 stars A half-baked, self-important milestone, December 28, 2009

By 

Ralph Lara "opera fanatic" (Miami Shores, FL USA) - See all my reviews
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This review is from: 111 Years of Deutsche Grammophon: 55 CD Anthology (Audio CD)

My analysis of this set differs sharply from that of the uncritical chorus of praise that you'll find all over this page. In my opinion, this is a half-baked collection indeed, a non-cohesive, huge Whitmans' Sampler primarily promoting the label's product rather than honoring the artists in its long history (or composers for that matter - where are the pioneering recordings of Bruckner or indeed any Bruckner at all? Sibelius? Hindemith conducted by Hindemith? - and almost no Wagner whatsoever!). I don't know who selected the material or why exactly 55 CDs, but I do know that this compilation could and should have been much, much better. First of all, I must say that I find the 111 years theme rather contrived - but let it pass. What really bothers me is that the whole thing has the feel of a rush job put together by someone not up to the task, a person or committee from the marketing rather than the artistic section of the company. This could have been a great opportunity to celebrate the many musicians who have made Deutsche Grammophon one of the world's greatest labels for more than a century. Yet I am disappointed to find that so many great and significant artists are missing from the festivities. I have looked closely but I find no trace of Gil Shaham, Pinchas Zukerman, Geza Anda, Nathan Milstein, Neeme Jarvi, Tamas Vasary, Andres Segovia, Salvatore Accardo, Nicanor Zabaleta, Narciso Yepes, Agnes Baltsa, Grace Bumbry, Mirella Freni, Jessye Norman, and many other great and well-known artists who have so substantially contributed to the label. Herbert von Karajan is represented by yet another re-release of his 1962 recording of the Beethoven Ninth Symphony. A great recording indeed but so readily and constantly available as to prove a most unimaginative choice for this collection. A far better choice would have been the hard-to-find recording of Prokofiev's Fifth Symphony, easily the best recording the piece has ever had and one of DG's most stunning sonic productions ever. Or how about Karajan' last recording of Richard Strauss's Metamorphosen? He conducted the world premiere recording of the work and this last offering is absolutely incredible in its intensity and power. Nothing shows better the amazing beauty and sheen of the Berlin Philharmonic in its peak years. And speaking of great conductors, where the hell are Giuseppe Sinopoli, Andre Previn and James Levine?

I guess that the appearance of Leonard Bernstein's horrible, bombastic West Side Story mess was inevitable. I also understand that several of the celebrities du jour had to be included, such as Anna Netrebko, Gustavo Dudamel and Lang Lang. Fine, yet most of the artists that made the label famous during the crucial, developing years of the long-playing record are missing. No Rita Streich, Irmgard Seefried, Christa Ludwig, Thomas Stewart, Evelyn Lear, Hermann Prey, Hilde Gueden, Peter Schreier, Ralph Kirkpatrick, Hans Rosbaud, Wolgang Schneiderhan or Teresa Berganza, among other casualties. This shows not only carelessness but ingratitude and disrespect.

It would have been nice to have Carlo Maria Giluini's recording of Mahler's Ninth Symphony and the Boston Chamber Players's lovely album of Johann Strauss waltzes arranged by Schoenberg and Berg. That would have showed some imagination. Some of Eugen Jochum's Bruckner choral works would have been appreciated as well. Or Gundula Janowitz singing Wagner, Mozart, Schubert or Richard Strauss. At least they could have included Geza Anda's album of Mozart's Piano Concerto No. 21, one of the label's all-time best sellers!!!

The small booklet contains a rather shallow and insufficent overview of the company's history. Not bad but not great. I guess they want you to buy the big hard-bound (and very expensive) book.

I have complained enough, I guess. Don't get me wrong, I bought the box and I think it's all right for the purposes of a superficial anthology. And it includes several albums that I had missed through the years, at least on CD, such as Barenboim's superb Ravel. I just wish that a lot more intelligence and imagination and a lot less inflated self-congratulation had gone into creating this. The yellow label and its family of immortal artists deserve much better.