ALBAN BERG : Complete Chamber Music (Schoenberg Quartet) (2002) FLAC (image+.cue) lossless

Tracklist & Credits :

SCHOENBERG : Piano Concerto; Klavierstücke, Op. 11 & Op. 19, BERG : Sonata, Op. 1, WEBERN : Variations, Op. 27 (Uchida-Boulez) (2001) FLAC (tracks+.cue), lossless

Arnold Schoenberg *
Concerto For Piano, Op. 42 = Klavierkonzert = Concerto Pour Piano (19:50)

Anton Webern
Variations, Op 27 (7:57)

Arnold Schoenberg
Drei Klavierstücke, Op. 11 = Three Piano Pieces = Trois Pièces Pour Piano (13:57)
Sechs Kleine Klavierstücke, Op. 19 = Six Little Piano Pieces = Six Petites Pièces Pour Piano (7:42)

Alban Berg
Piano Sonata, Op. 1 = Klaviersonate = Sonate Pour Piano 12:57

Piano [Steinway & Sons] – Mitsuko Uchida
Conductor – Pierre Boulez *

ALBAN BERG : The Alban Berg Collection (Abbado, Levine, Boulez ...) 8CD (2003) APE (image+.cue), lossless

 CD 1:
Three Pieces For Orchestra Op. 6 / Three Pieces From The "Lyric Suite" / Violin Concerto "To The Memory Of An Angel" (64 Mins)

CD 2:
Chamber Concerto / Piano Sonata / Four Pieces For Clarinet And Piano Op. 5 / Adagio For Violin, Clarinet And Piano (From Chamber Concerto) / Wein, Weib Und Cesang (Transcr.) (75 Mins)

CD 3:
Lyric Suite For String Quartet / String Quartet Op. 3 / Seven Early Songs (With Piano) / Schliesse Mir Die Augen Beide / An Leukon / 4 Lieder Op. 2 (75 Mins)

CD4:
Seven Early Songs (With Orchestra) / Altenberg-Lieder / Der Wein / "Lulu" Suite (73 Mins)

CD 5:
Lulu: Prologue, Act I (61Mins)

CD 6:
Lulu: Act II (53 Mins)

CD 7:
Lulu: Act III / Wozzeck: Act I, Scene 1-3 (79 Mins)

CD 8:
Wozzeck: Act I, Scene 4-5 / Act II - III (66 Mins)
Credits :
Baritone Vocals – Dietrich Fischer-Dieskau (pistas: 3-19 to 3-22)
Clarinet – Sabine Meyer (pistas: 2-5 to 2-8, 2-9)
Conductor – Claudio Abbado (pistas: 1-1 to 1-6, 4-1 to 4-7, 4-8 to 4-13, 4-14 to 4-18, 7-15 to 7-17, 8-1 to 8-13), James Levine (pistas: 1-7 to 1-8), Pierre Boulez (pistas: 2-1 to 2-3), Pierre Boulez (pistas: 5-1 to 5-12, 6-1 to 6-10, 7-1 to 7-14)
Ensemble – Ensemble Intercontemporain (pistas: 2-1 to 2-3)
Mezzo-soprano Vocals – Anne Sofie von Otter (pistas: 3-9 to 3-15, 4-1 to 4-7, 4-13)
Orchestra – Orchestre National De L'Opéra De Paris (pistas: 5-1 to 5-12, 6-1 to 6-10, 7-1 to 7-14), The Chicago Symphony Orchestra (pistas: 1-7 to 1-8), Wiener Philharmoniker (pistas: 1-1 to 1-6, 4-1 to 4-7, 4-8 to 4-13, 4-14 to 4-18, 7-15 to 7-17, 8-1 to 8-13)
Piano – Aribert Reimann (pistas: 3-19 to 3-22), Bengt Forsberg (pistas: 3-9 to 3-15), Daniel Barenboim (pistas: 2-1 to 2-3, 2-4), Geoffrey Parsons (pistas: 3-16 to 3-18), Oleg Maisenberg (pistas: 2-5 to 2-8, 2-9)
Soprano Vocals – Juliane Banse (pistas: 4-8 to 4-12, 4-16, 4-18), Margaret Marshall (pistas: 3-16 to 3-18)
Strings – LaSalle Quartet (pistas: 3-1 to 3-8)
Violin – Gidon Kremer (pistas: 2-9), Pinchas Zukerman (pistas: 2-1 to 2-3)

KURT WEILL : Die sieben Todsünden; BERG : Lulu Suite (Masur) (1994-2010) FLAC (image+.cue), lossless

Kurt Weill's Die sieben Todsünden and Alban Berg's Lulu Suite seem at first glance to be odd companions. The two composers appear to have little in common, aside from sharing the same German nationality and language. Yet there were many circumstances, coincidences, and parallel interests between them (described in detail in the liner notes) to warrant programming these works together. While the historical background is important in understanding why these stylistically opposed works were paired, listeners may prefer one over the other. Weill's "ballet with song" is tonal and similar in coloration to other theater works he wrote in collaboration with Bertolt Brecht, and perhaps most closely resembles Mahagonny. The popular style of his songs is instantly accessible, though the unusual libretto is less easily comprehended. Berg's Lulu, as represented by these five extracted pieces, is predominantly twelve-tone and expressionist, and the music's abstract qualities are emphasized in this concert arrangement. Even so, the suite is more approachable and lyrical than might be expected, and it is worth reflective listening. Angelina Réaux adjusts her vocal style according to the different demands of these works, and Kurt Masur and the New York Philharmonic provide solid accompaniment and satisfying orchestral playing on their own in this live recording. by Blair Sanderson 

ALBAN BERG : Lulu (Maderna) (2002) 2xCD / FLAC (image+.cue), lossless

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