Karajan’s Deutsche Grammophon complete recordings is recorded on chronological order. From the “Magic Flute” overture of the 1938 recording used as first recording to the recording of the last in 1989, and the Symphony No.7 of Bruckner. There is no selling separately. It becomes ordering limited production.
Volume 2 of EMI's comprehensive Herbert von Karajan centenary edition gathers virtually all of the conductor's operatic and vocal output for the label in one place, taking up 71 CDs (Disc 72 contains complete librettos in the form of PDF files). I use the word "virtually" because the package omits four posthumously issued archival items taped live during the 1957-60 Salzburg Festivals (Beethoven's Missa solemnis, Brahms' German Requiem, Bruckner's Te Deum, and Verdi's Requiem). Otherwise, it's all here.
To celebrate what would have been Herbert von Karajan's 100th birthday on April 5, 2008, EMI has gathered together all of the conductor's recordings for the label in two super-budget boxed sets. Volume 1 weighs in at an imposing 88 discs and focuses on orchestral repertoire (the second volume consists of vocal and operatic works). The first nine discs encompass Karajan's EMI Vienna Philharmonic sessions…
An inspiring, authoritative, chronological overview of one of the defining label-orchestra relationships, documenting 100 years of recording between two giants in music, the Berliner Philharmoniker and Deutsche Grammophon, from 1913 to 2013.
The Japanese company, BMG Japan, sorted the original RCA RED SEAL CDs according to the composers and the year when the music pieces were created. BEST100 series are the best representative CDs, which were carefully chosen from those music pieces by acting and recording, and they were released again with the mark of RCA BEST100. These CDs are the most impressive records in the classical field at RCA’s best. Theoretically, we could find the single originals of those CDs, but BMG Japan reorganised excellently for everyone. During BMG Japan period, it was released for the first time in 1999 and for the second time in 2008 after SONY took over BMG. BEST100 series belong to the latter.
It's a tall order to compile the best classical music of the twentieth century, but EMI has selected its top 100 classics for this six-disc set, and it's difficult to argue with most of the choices. Without taking sides in the great ideological debates of the modern era – traditionalist vs. avant-garde, tonal vs. atonal, styles vs. schools, and so on – the label has picked the composers whose reputations seem most secure at the turn of the twenty-first century and has chosen representative excerpts of their music. Certainly, the titans of modernism are here, such as Igor Stravinsky, Arnold Schoenberg, Béla Bartók, Dmitry Shostakovich, Sergey Prokofiev, Claude Debussy, and Benjamin Britten, to name just a few masters, but they don't cast such a large shadow that they eclipse either their more backward-looking predecessors or their more experimental successors.
EMI's generous compilation of 100 tracks from its archive of recordings by Maria Callas makes a fine introduction to her legacy. Callas' voice isn't consistent throughout, but when she's at her best, it's easy to hear the musical and dramatic power that made her the most legendary opera singer of the 20th century. She is impressive often enough that it's not hard to forgive the performances that are less than stellar. The six-disc collection is intelligently organized, with each disc dedicated to a particular composer (or several composers) or a theme: Bellini; Donizetti and Rossini; Verdi; Puccini; French operatic heroines; and dramatic heroines.
The Trio series is unquestionably, along with EMI's Gemini sets, one of the best available. This particular item is a complete set of Hindemith's orchestral works, and not only do we get full servings at over 60 minutes per CD, but you get fantastic performances as well. These Blomstedt SFSO/Leipzig Gewandhauser recordings were originally issued at full price on Decca, and when one hears them one can tell why.