Szell and his Clevelanders are shown at their finest here. The sparkling account of the Haffner is exhilarating, and the performance of the last symphon[y is] equally polished and strong. Yet there is a tranquil feeling to both Andantes that show Szell as a Mozartian of striking sensibility and finesse"

-- Penguin Guide [2003/4 Edition]

These head notes take some explaining. Leave Me Alone is presented twice: the original song, sung by Angelika Kirchschlager, plus a version for cello and piano played by Jan Vogler. In the op. 55 Gypsy Songs, she sings Nos. 2, 5, and 6, while he plays the other four. Ms Kirchschlager sings both Stephen Foster ballads; Wilt Thou Be Gone, Love? includes a cello solo, as well. Pianist Helmut Deutsch accompanies it all. This is all appropriate filler material, as these songs supposedly influenced the composition of the concerto, but the oddities of presentation are not explained. Let’s just say that these recordings, made in a Viennese Casino on May 18, 2005, were Vogler’s party, at which Kirchschlager was merely an invited guest. Standing in a corner, the composer was heard to mutter “Lasst meine Lieder allein.”

Jan Vogler is a young cellist from Berlin who studied with Peter Vogler, Josef Schwab, and Heinrich Schiff. He became principal cellist of the Dresden Staastkapelle at the age of 20, leaving in 1997 to pursue a solo career. His instrument is a 1712 Joseph filius Andrea Guarneri. He has a major reputation in Europe—he won the German equivalent of a Grammy Award as Best Instrumentalist of 2002—and several recent appearances in New York have drawn favorable reviews. He appears as soloist on 15 Berlin Classics CDs; his 2003 Korngold and Barber concertos, with Thomas Sanderling and the Saarbrücken Radio Symphony, cut much of the saccharine and raise those works well above mere respectability. This is his third recording for Sony, following a disc of works by Richard Strauss (Don Quixote and Romance for Cello and Orchestra with Staastkapelle Dresden, plus the Cello Sonata) and one of the Fauré and Schumann piano quintets with Louis Lortie. Neither has ever been available in America.

Angelica Kirchschlager is the latest in the series of great mezzo-sopranos of our era. She has a seamless, easily produced voice, faultless technique that never draws attention to itself, and great feeling for many musical styles. It speaks well of her confidence that she agreed to play second fiddle on this disc. Her Gypsy Songs (sung in German) are so fine that I wish she had sung all seven, but Mr. Vogler’s playing is equally wonderful. Mr. Deutsch gets to show his stuff in the brilliant, complex accompaniments, Foster not having offered him much of a challenge.

Having disposed of the hors d’oeuvres, we can now attack the main course. After the opening phrase, the Cello Concerto’s orchestral introduction is so high-spirited that one wonders if a cello will be able to match it. In the second theme, Philip Myers’s solo horn (the Philharmonic’s full roster appears in the booklet) could wring tears from a stone. The cello entrance is equally strong; Vogler’s lean, clean sonority shines through. Throughout the performance, the athletic side of the music is to the fore; emotion is not short-changed, but the work never falls prey to the over-ripe sentimentality common to most recordings. A best single word to describe this performance would be invigorating. The obvious comparison is with Yo-Yo Ma, playing with the same orchestra in the same hall, for the same label. It’s not that Vogler is a better cellist (only God and Feuermann?), but he has an exuberant personal style, as does conductor David Robertson; they throw themselves into the music wholeheartedly. Ma’s playing is more inhibited—no, that’s not quite the right word—more self contained. His conductor Kurt Masur fits the same mold, being a product of conservative German musical tradition.

The recorded sound is gorgeous. The recording took place in Avery Fisher Hall on December 6, 2004; the orchestra kindly allowed me to attend the morning session (the first movement), and the troublesome venue never sounded so rich and alive. With no audience (I was surrounded by 2,741 empty seats) nor any artificial damping materials, as were used at some Columbia sessions in the Bernstein era, the music surged through the hall, vibrant and forceful. On the recording, ff climaxes do turn slightly hard, a common fault of this hall, but that’s a minor blemish on an otherwise stunning achievement. Vogler’s lean, forward tone makes its presence felt at all times, as it did in the hall, so it does not depend on electronic assistance. Kudos to producer Andreas Neubronner! After 50 minutes of rehearsal and audio adjustments, the opening Allegro was set down in one complete take and another broken into three sections. One wishes Sony had issued an SACD recording here; why is it no longer supporting its own medium? Vogler’s aforementioned Don Quixote is a Sony surround-sound hybrid SCAD “only available outside the US market,” according to www.highfidelity.net.

This CD bears the title: “The Secrets of Dvo?ák’s Cello Concerto,” which relates to two interviews in the program notes between Michael Beckerman, chair of New York University’s Department of Music and a specialist in Czech music, and cellist Jan Vogler. They do explore some interesting areas and provide some valuable information, but I find most of it to be hype, pursuing the question of whether the death of Dvo?ák’s love Josefina Kounicová (whose sister Anna he married, à la Mozart) has relevance to our understanding of the Cello Concerto. Here’s a basic point on which I disagree: Beckerman writes “Telling musical stories in one way or another was Dvo?ák’s stock in trade at this time in his career” (the Cello Concerto followed the “New World” Symphony, was contemporary with his final two quartets, in G Major and AI Minor, and preceded the four tone poems after Erben ballads). The statement is too vague and too hedged to contradict, but I feel it misrepresents the composer, and the following 16 pages of argument are based on it. If we examine Dvo?ák’s œuvre, most observers agree that his best works are his instrumental and orchestral ones, not his operas, which, in spite of containing much wonderful music, fail just because he was not much of a story teller. His lovely songs depend primarily on their luscious melodies. The Cello Concerto speaks to me as an instrumental and orchestral masterpiece, and to hell with its composer’s love life. Those interviews form the entire program notes, their 17 pages denying us a single word of song texts. If Dvo?ák was such a story teller, why not let us read some of his stories? Texts would have been especially welcome for the songs played by the cello. Perhaps what I dislike most is Sony’s view that every disc these days must have an Album Concept, as if Dvo?ák, Jan Vogler, and the New York Philharmonic were not enough.

Arkivmusic.com lists 102 entries under Dvo?ák’s Cello Concerto, by 38 soloists; many are duplications and/or reissues, so the number of performances is probably about 50. I’ve heard perhaps half that many, and this new one is my favorite. It should not be a serious collector’s only recording, of course; I’ve kept at least seven others: Casals/Szell (pace Bernard Jacobson), Starker/Dorati, Rostropovich/Talich, Ma/Masur, and three Feuermanns.

FANFARE: James H. North

Recording information: ORF Funkhaus, Großer Sendesaal, Vienna, Austria (06/04/2008-06/06/2008); ORF Funkhaus, Großer Sendesaal, Vienna, Austria (09/17/2008).

This is a DSD (Direct Stream Digital) recording

The main question for collectors familiar with Toscanini's 1941-42 Philadelphia Orchestra recordings concerns how this newly remastered edition (compiled from "original sources", according to Sony/BMG) compares to earlier ones. To my ears, the recordings sound better than ever. Andreas Meyer's transfers reveal a wider spectrum of low, middle, and high-range frequencies as well as more noticeable surface noise, while a few previous instances of pitch waver now are fixed. Loud climaxes that once emerged powdery and diffuse gain considerable definition and color, as Respighi's Roman Festivals and Debussy's Iberia bear out. The boost in dynamic range reinforces the Philadelphia string section's characteristically lush sonority, yet at the same time underlines occasionally scrappy moments like the cross rhythms at the outset of the Tchaikovsky Pathétique's march movement or the overly rushed Mendelssohn Overture and Wedding March from A Midsummer Night's Dream.

The Debussy La Mer and Berlioz Queen Mab Scherzo match the point and delicacy of Toscanini's later NBC Symphony studio versions, albeit with a little more warmth, animation, and tonal shading, despite the inferior sonics. By contrast, Strauss' Death and Transfiguration seems relatively ordinary when you consider the extraordinary rhythmic focus and polyphonic delineation distinguishing the Maestro's great 1952 NBC reading.

Critical consensus singles out the Schubert "Great" C major symphony as the prize of the Toscanini/Philadelphia series, and I couldn't agree more. The fire and drive typifying the conductor's 1953 NBC performance is present in a suaver, more massively contoured orchestral context, with notable tempo adjustments such as the subtly effected first-movement transitions and, in the finale, a striking holdback on the unison C-naturals (measures 1058 and on).

I also should make special mention of the first-chair soloists, particularly oboist Marcel Tabuteau's faultless, elegant phrasing and Mason Jones' mellifluous horn work in the Schubert second movement. Whereas RCA's deleted complete Toscanini Edition spread the Philadelphia recordings across four CDs, here everything comfortably fits on three. Obviously this set recommends itself to all Toscanini admirers.

--Jed Distler, ClassicsToday.com

Prokofiev: Romeo and Juliet Ballet (Excerpts) & Lieutenant K

THE BEST OF EDGAR MEYER brings together many of his favorite recordings of his own music and collaborations with other artists. Included are Meyer tracks that are featured on the soundtrack of Ken Burns' epic documentary series the War, which has it's US premiere this fall on PBS, after winning international acclaim last spring at the Cannes Film Festival. Edgar Meyer's unparalleled technique and abilities as an instrumentalist combined with his gift for composition make him one of the brightest beacons on the current musical landscape and THE BEST OF EDGAR MEYER is certainly is Edgar at his best.

After his triumphant appearance as Lohengrin at the Bayreuth Festival in July 2011, Klaus Florian Vogt makes his debut album. His success at Bayreuth is the culmination of a unique career, becoming "the" German Wagnerian tenor par excellence in a remarkably short time, with regular appearances at Bayreuth, Munich, Berlin, Hamburg and at all major opera stages around the world. "Helden" presents the exclusive Sony Classical artist in his signature role of Lohengrin, singing "In fernem Land" in addition to other arias by Wagner as well as selections by Mozart, Weber, Lortzing, Flotow and Korngold. Vogt is accompanied by the renowned orchestra of the Deutsche Oper Berlin, conducted by Peter Schneider.

"Klaus Florian Vogt [is] a Lohengrin with a perfect Tamino voice that somehow manages to laser its way through the role without forcing and who acts the part of the Knight-composer with grace." -- Robert Levine, ClassicsToday.com reviewing Vogt as Lohengrin, Opus Arte 964

"Klaus Forian Vogt is excellent in the role of Walther and probably the strongest singer in this production. He has an attractive voice and sufficient power to stand out in heavily scored passages. His Morgenlich leuchtend in rosigem Schein is beautifully sung..." -- Robert Cummings, MusicWeb International reviewing Vogt in Meistersinger, Opus Arte 1041

This selection includes the spoken track "Portrait of Stravinsky: Stravinsky in Rehearsal; Stravinsky in His Own Words (narrated by John McClure)."

Music composed by Andrew Lloyd Webber. Lyrics written by Charles Hart.
Principal cast includes: Juan Navarro (El Fantasma De La Opera); Irasema Terrazaz (Christine); Jose Joel (Raul, Visconte De Chagny); Tatiana Marouchtchak (Carlotta Giudicelli); Luis Rene Aguirre (Monsieur Firmin); Luis Miguel Lombana (Monsieur Andre); Tere Cabrera (Madame Giry); Javier Cortes (Ubaldo Piangi); Laura Morelos (Meg Giry).
Recorded at 201 Studios, Mexico.

Grammy-nominated star saxophonist Amy Dickson returns with her most personal album yet, exploring connections between classical composers and the folk music of their homelands. From the red dirt of the Australian desert to the rolling green hills of the Scottish Highlands, In Circles celebrates folk music and the tremendous influence it has had on music around the world and throughout history. As Dickson says, "Folk music breathes the very identity of a country, and in troubled times can be a source of solace, over and over again. At the core of folk music lies a beating heart of humanity to which we return again and again. The creation itself of this music requires personal, family and social connections - in a word: kinship." This sense of community and togetherness is amplified by the collaborations on this album. With celebrated composer and didgeridoo virtuoso William Barton, Dickson explores music by Australian composers Ross Edwards, Peter Sculthorpe and Barton himself. With acclaimed pianist Daniel de Borah she traverses Europe, from Brahms to Falla, Pessard and Vaughan Williams. With Nicholas Carter and the Adelaide Symphony Orchestra, she explores archetypes of traditional Scottish music in a world premiere recording of Sir James MacMillan's Saxophone Concerto, written specifically for Dickson. Dickson continues, "In today's frenetic digital age, folk music offers us a refuge: the enduring simplicity and nostalgia embodied in this music provides timeless sanctuary from the relentless surge of modernity."

After acclaimed recordings of music by the great masters, Lucas Debargue shines much-needed light on a composer he is determined must be heard: Milosz Magin (1929 – 1999). ‘Magin’s style is capable of both enchanting and surprising us,’ the French pianist says. ‘Few composers of his time were so open to cultivating the art of writing beautiful melodies.’ Born in Poland in 1929, Magin settled in Paris in 1960. After a car accident in 1963 he traded a career as one of Poland’s greatest pianists for that of an imaginative composer who would never forget the traditions of his homeland. Magin’s greatest inspiration was Chopin, another Pole who made Paris his home and whose piano works Magin recorded for Decca. The two composers are buried next to one another in Paris. Magin’s music shares much of the same lucid, distilled quality as that of his forbear, as well as a pianistic elegance that speaks of France and Poland in equal measure. ‘His music has been resonating in my mind’s ear for the last twenty years,’ says Debargue, whose first piano teacher was a student of Magin and ‘admired him not only as an inspired composer but also as a pianist and as a teacher whose advice on interpretative matters had often proved invaluable to her. His music has played a crucial role in my life. I grew up with it’, continues the French pianist. The pieces written for children, especially Magin’s Miniature Polonaises of which he presents Nostalgie du pays, were one of the first works he learnt with his first piano teacher.  When Debargue included Magin’s Nostalgie du pays at a recital in Paris, the composer’s granddaughter Alexandra contacted him. A correspondence began and a world of unpublished music saw the light of day.TRACKLIST1.           Andante pour violon et piano    Concerto No. 3 pour piano, cordes et percussions    2.           I. Allegro con fuoco - Allegro Appassionato    3.           II. Allegro    4.           III. Presto    5.           IV. Adagio    6.           V. Allegro con fuoco    7.           Vocalise No. 2 - Andantino    8.           Vocalise No. 3 - Vivace    9.           Nostalgie du pays, extrait des Miniatures Polonaises    Concerto Rustico pour violon, cordes et percussions    10.         I. Allegro    11.         II. Andantino    12.         III. Presto    13.         Vocalise No. 1 - Andante    14.         Vocalise No. 4 - Andantino    ​​​​​​​15.         Stabat Mater pour cordes et timbales

John Goodman as a government official is tasked with uniting the world against a common extra-terrestrial enemyMusic by Rob Simonsen, co-composer of Academy Award Best Score winning soundtrack Life of Pi​​​​​​​MAIN CASTJohn Goodman (10 Cloverfield Lane, Barton Fink, Argo),Vera Farmiga (Up in the Air, The Departed, Orphan),Aston Sanders (Moonlight, The Retrieval, The Equalizer 2),Jonathan Majors (Hostiles, White Boy Rick, TV: When We Rise)INFOSet in a Chicago neighborhood nearly a decade after an occupation by an extra-terrestrial force, CAPTIVE STATE explores the lives on both sides of the conflicts - the collaborators and the dissidents.ABOUT THE COMPOSERHaving learned to play the piano at a young age and with an educational background in jazz, electronic and traditional orchestral music, Rob Simonsen has lent his scoring talents to a wide range of film projects.  Since the early 2000s, he’s worked on an expansive list of film soundtracks, among them Love, Simon, Nerve, Foxcatcher, The Way, Way Back and The Spectacular Now.  Under the apprenticeship of composer Mychael Danna, Simonsen worked on films like 500 Days of Summer and Moneyball, in addition to collaborating with Danna on his Academy Award-winning score for Ang Lee’s Life of Pi.  In addition to his lengthy catalogue of film scores, Simonsen is the founder of The Echo Society, a Los Angeles-based non-profit artist collective.  Surrounding himself with a network of like-minded artists, Simonsen founded The Echo Society in order to connect, inspire, challenge and enrich the creative community in Los Angeles by sponsoring live, professional sonic/visual performances and offering immersive and interactive audience experiences.

Sony Music announces the release of MUSIC INSPIRED BY THE FILM ROMA, an album of music inspired by Alfonso Cuar�n's award winning film. The film was nominated for 10 Academy Awards including Best Picture. The album features songs from BECK, BILLIE EILISH, EL-P, IBEYI, JESSIE REYEZ, LAURA MARLING, PATTI SMITH, UNKLE and more, recorded exclusively for this project. Included is BECK's first musical offering of 2019, entitled "Tarantula". Beck's radical reimagining of "Tarantula," a 1982 B-Side by 4AD artists Colourbox, replaces the minimalist groove of the original with an epic arrangement by Beck in collaboration with his father, David Campbell. Produced by Beck and mixed by Tom Elmhirst, the track features a riveting Beck vocal performance at it's centerpiece with the backing of a 24-piece ensemble. After completing work on ROMA, director Alfonso Cuar�n was struck with the notion of having his favorite musical artists create songs inspired by the film. Interested in hearing what the film might inspire in artists across the globe, Cuar�n and his music supervisor Lynn Fainchtein began exploring possibilities with the help of their friend Randall Poster. They approached artists of all genres and backgrounds, inviting them to contribute either an original piece of music or a cover of one of the songs heard in the film. For some, ROMA inspired new originals, including Billie Eilish's "WHEN I WAS OLDER". Like most of the original songs contributed to the collection, it incorporates various sound elements from ROMA's dense audio tracks. From shouts of student protests to barkings of Borras to the grinding of knives, artists drew inspiration from the sonic landscape meticulously crafted by ROMA, imbuing their compositions with the day-to-day soundtrack of the streets of Mexico City. 16-year-old Bu Cuar�n makes her musical debut with her contribution "PSYCHO," opening with a dramatic audio clip from ROMA before descending into a synth-heavy, electro-pop gem. Elsewhere, British singer-songwriter Laura Marling covers the Mary Hopkin original "Those Were The Days," which is heard in the film as a cover by Ray Conniff & The Singers. The legendary Patti Smith records a new version of her 1996 track "Wing," while French musical duo Ibeyi draws inspiration from the character of Cleo and her story. From hip-hop's El-P to R&B breakout Jessie Reyez and electronic producers UNKLE and DJ Shadow, the remainder of the collection is a diverse tapestry that transcends genre, geography and age. From Sonido Gallo Negro and Quique Rangel's Mexico City roots to singer-songwriter Asaf Avidan's native Israel, and with artists belonging to five different generations, Music Inspired by the Film ROMA is a contemporary touchstone that further reiterates the film's ability to connect with audiences of all ages across the globe. Music Inspired by The Film ROMA is the latest addition to the sonic universe of Alfonso Cuar�n's semi-autobiographical film, following the release of ROMA (Official Motion Picture Soundtrack). Delivering a sonic portrait of Mexico in the 1970s, the soundtrack presents a mosaic of sounds that further encapsulate the sociopolitical transitions of the era.

Music by Oscar Winner Alexandre Desplat (The Shape of Water, The Grand Budapest Hotel)Starring Joe Alwyn, Golden Globe Winner Oscar Isaac, Mélanie Laurent & Oscar Winner Ben Kingsley MGM’s razor-sharp thriller, Operation Finale, brings to life one of the most daring covert operations in modern history. Starring Golden Globe® winner Oscar Isaac (Star Wars: The Last Jedi, Ex Machina) and Academy Award® winner Sir Ben Kingsley (Gandhi, Schindler’s List), and the film vividly captures the ingenious and brilliantly executed mission to capture Adolf Eichmann, one of the chief architects of the Holocaust.Fifteen years after the end of World War II, acting on irrefutable evidence, a top-secret team of Israeli agents travel to Argentina where Eichmann (Kingsley) has been in hiding together with his family under the alias “Ricardo Klement” and execute an extremely dangerous abduction. In attempting to sneak him out of Argentina to stand trial in Israel while being pursued by the country’s right-wing forces, agent Peter Malkin (Isaac) is forced to engage Eichmann in an intense and gripping game of cat-and-mouse with life-and-death stakes.Operation Finale is directed by Chris Weitz (About a Boy, The Twilight Saga: New Moon) from a screenplay by Matthew Orton. Oscar Isaac is also a producer, along with Brian Kavanaugh-Jones and Fred Berger under their Automatik company and Jason Spire’s Inspire Entertainment.Alexandre Desplat says about the soundtrack: “Writing a score for the abduction of Adolf Eichmann has been a tremendous challenge. Chris and I tried to bring the audience into the mind of the Mossad squad, struggling to succeed in one of the most famous chases of a Nazi official; a criminal with no regrets or remorse whatsoever, hidden in Argentina. Organizing the train transports of Jews throughout Europe and supervising their systematic killings in villages or forests were some of Eichmann’s tasks. The music I composed tries to modestly capture these elements of tragedy and madness. A group of 10 percussionists leads the London Symphony Orchestra into a Mephistophelian dance.”ABOUT ALEXANDRE DESPLATComposer, orchestrator and conductor Alexandre Desplat is a two-time Academy Award® winner, nine-time Academy Award® Nominee, with over hundred scores and numerous awards to his credit and is one of the most worthy heirs of the French film scoring masters.A true cinephile, his approach to film composition is not only based on his strong musicality but also on his understanding of film which allows him to intimately communicate with directors. Inspired by the works of Maurice Jarre, Bernard Herrmann, Nino Rota or Georges Delerue, he expressed his desire to compose for film early on but really made his decision after listening to John Williams’ score to Star Wars.After scoring 50 European films, with legendary French directors such as Philippe de Broca and Francis Girod, he burst in 2003 onto the Hollywood scene with his evocative score to Peter Webber’s Girl With A Pearl Earring earning him nominations at the Golden Globe Awards®, BAFTAs and European Film Awards.His singular and remarkable scores for the films of Jacques Audiard showed a new musical voice and his composition for The Beat That My Heart Skipped in 2005 earned him the Silver Bear at the Berlinale as well as his first César.Alexandre Desplat then started to expand his U.S. career keeping his European collaborations.In 2007 he received his first Academy Award® nomination for Stephen Frears’ The Queen which earned him his first European Film Award. The same year he won the Golden Globe, the Los Angeles Film Critics Association Award and the World Soundtrack Award for his score to John Curran’s The Painted Veil, performed by Lang Lang.He composed in 2008 for Florent Siri’s Intimate Enemy, Ang Lee’s Lust, Caution, and David Fincher’s The Curious Case Of Benjamin Button, which earned him a second Oscar nomination and a fourth BAFTA and Golden Globe® nomination.With his score for Roman Polanski’s The Ghost Writer in 2010, starting an inspiring relationship, he won a second César and a second European Film Award. The same year, he wrote the music for Twilight-New Moon by Chris Weitz, a platinum record, Anne Fontaine’s Coco Before Chanel and for Tom Hooper’s The King’s Speech for which he won the BAFTA, the Grammy Award and receives his fourth Academy Award® nomination and his fifth Golden Globe® nomination. In 2010-2011 Alexandre Desplat scored David Yates’ films Harry Potter And The Deathly Hallows, Part 1 and Harry Potter And The Deathly Hallows, Part 2, which became the third most successful movie of all time.As eclectic as prolific, he wrote nine scores in 2011 including Terence Malik’s Tree Of Life, Roman Polanski’s Carnage, Wes Anderson’s Fantastic Mr. Fox, Daniel Auteuil’s The Wells Digger’s Daughter and George Clooney’s The Ides of March.In 2012, keeping his artistic exchange with European directors, Alexandre Desplat collaborated with Kathryn Bigelow for Zero Dark Thirty, Matteo Garrone for Reality, Gilles Bourdos for Renoir, Jérôme Salle for Zulu, Wes Anderson for Moonrise Kingdom and Jacques Audiard for Rust And Bone, the latter of which he won a third César. He also scored Argo by Ben Affleck, which was awarded the Oscar for best film and earned Alexandre Desplat a sixth nomination at BAFTA, as well as a fifth nomination at the Golden Globes® and the Academy Awards®.In 2013 he scored George Clooney’s The Monuments Men, Roman Polanski’s Venus In Fur and Stephen Frears’ Philomena, for which he received his seventh BAFTA and his fifth Oscar nominations.In 2014, he scored Gareth Edwards’s blockbuster Godzilla and received a rare double Academy Award® nomination for his scores of Morten Tyldum’s The Imitation Game and Wes Anderson’s The Grand Budapest Hotel, which earned him a BAFTA, a Grammy Award® and his first Academy Award win.In 2018, Alexandre Desplat won his second Academy Award®, second Golden Globe® Award and third BAFTA for Guillermo del Toro's The Shape Of Water. ​​​​​​​TRACKLIST: 1. Operation Finale2. Sacrificed Children3. Nazis Rising4. Malkin's Memories5. Setting Up Operations6. Stakeout7. Death8. Killing in the Woods9. Race to Airport10. Solingen Blade11. Number 4532612. The Monster13. Lost Children14. Air Control15. To Israel16. Operation Finale (Orchestral)17. Sorrow