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Romantic Adagios II
     

Romantic Adagios II

 
A double meaning is at play in the title of Romantic Adagios II, a collection of pieces from the Romantic era that are long on candlelight-dinner sentiment as well. The languid, dreamy slow movement became most ardently romantic during the 19th century, as this two-CD compilation proves. Favorite adagios by composers from Beethoven and Mozart to Rachmaninoff,

Overview

A double meaning is at play in the title of Romantic Adagios II, a collection of pieces from the Romantic era that are long on candlelight-dinner sentiment as well. The languid, dreamy slow movement became most ardently romantic during the 19th century, as this two-CD compilation proves. Favorite adagios by composers from Beethoven and Mozart to Rachmaninoff, Tchaikovsky, and Brahms will quench any listener's thirst for yearning melodies, expressive harmonies, and relaxing tempos. Also available: Romantic Adagios, Vol. 1

Editorial Reviews

All Music Guide - James Leonard
The title is "Romantic Adagios II." The description is "Over 2 1/2 hours of the world's most passionate music." What these are, in other words, are two discs of seduction music, which is fine. Using music for seductive purposes is the oldest ploy in the world. From Orpheus up to Ol' Blue Eyes, music hath charms to arouse, inflame, and incite lascivious and lubricious behavior. The whole purpose of this disc is to ensure a successful seduction. It sure isn't because sticking all of these Adagios together doesn't make any sort of musical sense. How could Wagner's "make love and die" Prelude from "Tristan" possibly be followed by anything except "Tristan," much less by the smarmy Rose Adagio from Tchaikovsky's "Sleeping Beauty"? How could Debussy's "imagine naked nymphs" "Pr�lude � l'apr�s-midi d'un faune" possibly be followed by Grieg's tenderly sentimental Adagio from his piano concerto? And how could Rachmaninov's "song of sweet despair" "Vocalise" be followed by Vaughan Williams' transcendent "Tallis Fantasia"? None of this fits and the selected performances don't make any sense. Why couple Vladimir Ashkenazy and the Concertgebouw Orchestra's throbbing Adagio from Rachmaninov's "Symphony No. 2" with Riccardo Chailly's dreary "Crisantemi" by Puccini? Why couple Arthur Grumiaux's exquisitely lyrical "Romance No. 2" by "Beethoven" with Jaap Schroder's austere and severe Largo from Bach's double violin concerto? Why couple Clifford Curzon's ethereal Adagio from Mozart's "Piano Concerto in A major" with Misha Dichter's mundane "Libestraum No. 3" by Liszt? Does it work as seduction music? Some of the music can't miss, such as the Rachmaninov Adagio, Wagner's Prelude, and Debussy's Prelude. Some of it seems unlikely to succeed, such as the Elgar Adagio and Brahms' Adagio.

Product Details

Release Date:
01/28/2003
Label:
Decca
UPC:
0028947359623
catalogNumber:
473596
Rank:
75060

Tracks

  1. Orchestral Suite No. 3 in D major, BWV 1068: Air (Air on the G string)
  2. Piano Concerto No. 23 in A major, K. 488: Adagio
  3. Symphony No. 2 in E minor, Op. 27: Adagio
  4. Piano Sonata No. 8 in C minor ("Pathétique"), Op. 13: Adagio cantabile
  5. Crisantemi (Chrysanthemums), elegy for string quartet
  6. Violin Concerto in D major, Op. 77: Adagio
  7. L' Arlésienne, suite for orchestra No. 1, from the incidental music: Adagietto
  8. Carmen Suite for orchestra No. 1 (assembled by Ernest Guirard): Intermezzo
  9. Piano Concerto No. 1 in C major, Op. 15: Largo
  10. Horn Concerto No. 4 in E flat major, K. 495: Romanza: Andante
  11. Etude for piano No. 3 in E major, Op. 10/3, CT. 16
  12. Romeo and Juliet, fantasy-overture for orchestra in B minor (3 versions): Love Theme
  13. Prelude to Tristan und Isolde, for orchestra
  14. The Sleeping Beauty, ballet, Op. 66: Rose Adagio
  15. Romance for violin & orchestra No. 2 in F major, Op. 50
  16. Concerto for 2 violins, strings & continuo in D minor ("Double"), BWV 1043: Largo ma non tanto
  17. Cello Concerto in E minor (also arr. as Viola Concerto by F.Salmond), Op. 85: Adagio
  18. Liebesträume, notturno for piano No. 3 in A flat major ("O Lieb, so lang du lieben kannst"), S. 541/3 (LW A103/3)
  19. Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun), for orchestra, L. 86
  20. Piano Concerto in A minor, Op. 16: Adagio
  21. Vocalise, instrumental arrangement, Op. 34/14
  22. Fantasia on a Theme by Thomas Tallis, for 2 string orchestras

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