| 1. Circle |
| 2. Earthalla |
| 3. Break The Wall |
| 4. Real World |
| 5. Light Of Love |
| 6. Transformation |
| 7. Decision |
| 8. Unity Power & Promise |
| 9. Greatest World Of All |
Editorial Reviews
Product Description
Cerrone's Live Opera "Futuriste" United Both Classcal and Modern Musicians to Form an Extraordinary Symphonic and Synthetic Orchestra Along with an Illustrious Choir, L'opera De Paris, Incorporating Some of Rock's Greatest Vocalists Like Mary Hopkin and Steve Overland (From the Canadian Band FM). Keyboardists Include Larry Dunn from Earth, Wind and Fire, Geoff Downes of the Buggles, Yes and Asia and Jj Jeczalik of the Art of Noise.
Some things are ageless.
I hope to one day visit the abbey and listen to these chants in person and live. 22 tracks of solid gold chants and the voices are so in sync with each other that the real mystery is why there is not more monasteries like this one.
Those that bemoan its departure from the sound of the first three albums seem to want near carbon copies of the same. Any new group has some signature, experimental style that got them noticed. They all tend toward some mainstream sound over time, partly because their novelty is no longer fresh, but partly based on what the fans seem to like.
Is it a soft, AC ballad? Is it a hard rocker? Funk? Rock band with horns? Others may debate the merits of each, but I hear Chicago - and I like it, whatever you want to call it.
XI closes the Terry Kath era, and I cannot add to the excellent comments along these lines. I do want to note two early signs of their future direction that have not been covered yet:
1) Danny Seraphine as song-writer. He will offer quality selections on each of the next five albums. You get a sense that he is a creative force in this middle period, giving them some directions and helping hold it together in the wake of Terry's death. This is just a guess on my part, but you cannot downplay his influence, beginning here. He is a big part of the bridge between the Kath/Guercio and Champlin/Foster era.
2) Lee and James' vocals herald the Champlin style. When I first heard Chicago 16 playing in a record store in 1982, I thought his voice must be either Lee or James on steroids. To me, they sound very similar. Here in the Kath era, you have these Champlin-like voices, and it turns out he was a very good fit for Chicago.
XI does not have a South California Purples, a Make Me Smile, an Approaching Storm.
But it is, clearly, Chicago. The music is accessible, but expertly and artistically done. Chicago's second era is the period when they perfect their record production chops. Listen to Chicago XI, and hear a musical team that knows how to make every variety of music. If the occasional pop song or ballad offends some underground FM enthusiast, well, tough.
I recommend this album to all music lovers.
Mississippi Delta City Blues- Viewed by some fans as Terry's swan song. This song can be interpreted on multiple levels. Terry's laugh at the beginning of the song juxtaposed with the lyrics about masking his unhappiness is a very nice creative effect. Peter Cetera shines on the bass on this song. The guitar riff is catchy, the horns accent Terry and Peter's performance. Although this song had been around since Chicago's days playing the club circuit in the late sixties, the lyrics seem particularly pertinent to Terry's feelings at the time of its recording. His unhappiness is expressed throughout the song despite his somewhat jovial tone- it's almost eerie that this was recorded so close to Terry's death.
Baby What A Big Surprise- This is the rough in the diamonds, reinforcing the label of "ballad band" for Chicago. It might as well have been called If You Leave Me Now Part II- This Time We'll REALLY Give You Cavities.
Till the End of Time- James Pankow's second endeavour as lead vocalist. While somewhat slow, this song still contains a lot of the elements of earlier Chicago. The syrup doesn't run quite as thick as on Baby What a Big Surprise. The horns are still quite prominent, the vocals are well done by Pankow leaving some fans wondering why he only sang lead on two Chicago songs during his entire (and continued) tenure with the band. The harmony vocals at the end of the song are some of the best harmonies Chicago has ever done.
Policeman- Musically speaking it's not one of Robert Lamm's stronger songs. The lyrics however are written quite well in a story-telling style which is somewhat reminiscent of the songs of Gordon Lightfoot and Harry Chapin. The horns are quite prominent, Terry's guitar playing accents and compliments the horns nicely. The harmony vocals compliment both Lamm's vocals and the horns. Unfortunately after this song Lamm's songwriting skills seemed to fall into a slump.
Take Me Back to Chicago- A touching song written by Danny Seraphine and "Hawk" Wolinski for Freddy Page, the late drummer of the Illinois Speed Press. However with Terry's untimely passing being so close to the release of this album this song is seemingly just as much written for Terry as it's written for Page. The preach by Chaka Kahn at the end of the song is a nice touch. This is easily one of the best Danny Seraphine penned songs and it shows his emergence as a songwriter.
Vote For Me- Typical Robert Lamm political commentary. This song is quite tongue-in-cheek, however, lyrically speaking it seems a bit weaker than Policeman. On the musical end of things this song has a stronger feel to it than some of Robert's other endeavours from the late seventies.
Takin' It On Uptown- In a word WOW! Terry Kath at his absolute best! Both vocally and on guitar- Terry Kath shines on this album. Some of Terry's best playing since his marathon solos on Live at Carnegie Hall. The lyrics are written by Fred Kagan, however they seem to carry a similar theme to the lyrics of Mississippi Delta City Blues. This song has a more upbeat theme to it although Terry sings it in an almost angry, fed-up tone. Moreso than any other song of Terry's- this seems to be a duet between Terry the singer and Terry the guitarist.
This Time- For a slower song, Terry really jams on this song as well. Lee Loughnane's lead vocals are very reminiscent of Terry's soulful style in fact at first listen one would almost assume that it is indeed Terry, not Lee, on lead vocals. One of Lee's finer attempts at being a songwriter and a singer.
The Inner Struggles of A Man- The orchestration on this piece provides a beautiful segue from the more upbeat This Time to the more somber Little One. It's a very beautiful piece and it sounds like it could be used for a film.
Prelude (Little One)- Picking up where The Inner Struggles of A Man crescendoes this is an excellent lead-in to Little One.
Little One- Written by Danny Seraphine for his daughters, Terry puts his stamp on this piece as well. This song can easily be interpretted as being just as much for Michelle Kath as it is for Danny's daughters. The string orchestration in the background really compliments the horns and Terry's voice.
The album was a turning point in the band for many reasons. As mentioned in other posts, Chicago XI is Terry Kath's last album. The band would soon transition to disco in "Hot Streets," hard rock in "Chicago XIV" (well, Chicago's version of hard rock), and then the power ballads in the 80s. In addition, XI is James William Guercio's last Chicago album as the band forced the producer out following its release.
However, the album was also different for being less focused on Robert Lamm songs. As much as I enjoy Lamm's songs such as "Policeman," my favorite track is "Little One," co-written by Danny Seraphine and David Wolinski. Not only would the song be the last sung by Terry Kath, but it is a beautiful six minutes of soft rock.
Rhino's re-release of XI provided the additional tracks of Pankow's "Wish That I Could Fly" and Lamm's "Paris." Neither track is memorable, but both are OK additions.
XI is a good album for the Chicago faithful. However, Chicago X and Hot Streets solidly outshine this album with similar-sounding music.
It's eerie that Kath's last recorded tune has him singing about hopping train "number 86" ("Takin' It On Uptown"). It's also still hard to hear him croon, "...'cause I will always be there" on "Little One." For a longtime Chicago fan, it's difficult to separate his death from the music.
But the music is good. After years of experimenting, Kath finally cemented "Mississippi Delta City Blues" into a terrific hook with workable lyrics. As an opener, it gets the set off to a great start. Peter Cetera's "Baby, What a Big Surprise" was the hit, and, all in all, it's not unpleasant. Trombonist James Pankow writes and sings the interesting "Till the End of Time," which is followed by Robert Lamm's mellow but excellent "Policeman." "Take Me Back to Chicago," a minor hit penned by drummer Danny Seraphine and Rufus hitmaker Hawk Wolinski, culminates in a terrific, almost gospel 'preach' fronted by the visiting Chaka Khan. Lamm's "Vote for Me" has always been hilarious, and, as I get older, the lyrics make much more sense.
Kath contributes perhaps the single greatest tune he ever wrote (with lyrics by Fred Kagan) with "Takin' It On Uptown." The wailing lead and chunky rythm guitar work meshes perfectly with Kath's growled vocals (punctuated effectively by Cetera in the background). This could easily stand as Kath's memorial. Trumpeter Lee Loughnane writes and sings the follow-up, "This Time"--a pleasing tune with a great hook. "Little One" and the build-up (written by Seraphine and Hawk) closes the orginal set with style and substance.
This being a re-release. there are bonus tracks. The first, Pankow's "Wish I Could Fly" is so cool, I wish Chicago had finished it. The second, Lamm's "Paris," is pretty bad.
The packaging and the liner notes for this edition of CHICAGO XI are well done. The remaster doesn't much improve on the sound quality, however, since the original LP was of high quality. Hey, at Amazon prices, this CD is well worth it.
The CD kicks off with "Mississippi Delta City Blues," a mixture of Terry Kath's bluesy voice style with Chicago's strong horns and a rock beat to create a powerful song. The funky flavor of this song is indicative of the mid-70s era in which it was written and performed, and yet the jazz and blues provide this song with a timeless quality that make it as enjoyable to listen to today as 1977. This song is so fast-paced and instrument-laden that it flirts with the hard rock category.
The transition from the powerful "Mississippi Delta City Blues" to "Baby, What a Big Surprise" is very dramatic. The former is instrument and beat powered. This song is a love ballad focused on Peter Cetera's vocals and harmonies. This beautiful pop song hit #4 and was a hint of Chicago's transition to a pop band in the 80s.
The transition from "Baby, What a Big Surprise" to "Till the End of Time" is less dramatic than the transition into the previous song as this song is also relatively slow and mellow, but Chicago's signature horns and blues flavor make this song a ballad in Chicago's style of that time rather than the much mellower Peter Cetera pop song. The thick vocal style and layered sound are but some of the characteristics of the unique Chicago sound of this era.
"Policeman" is lyrically significantly different from the two previous love songs. The song is jazz and blues influenced, with a touch of keyboard, typical for the 70s. The song is poignant in that it combines the worst scenarios in life for policemen in general. Seeing the worst in life, hoping to make a difference, and the stress being a policeman causes in your personal life. With so many songs that are down on the police, this blues song looks at their life from their side, a look that puts in perspective that police are people with a tough job.
The next song, "Take Me Back to Chicago," is a funky jazz celebration of Chicago, the city. The singer is apparently in Los Angeles, longing for Lake Michigan and Tastee Freeze and probably Lakeshore Drive. This song offers a mellow start with little keyboard flavors. The song breaks into stronger jazz sections that proclaim how enthusiastic the band is about Chicago. This song was released as a single with "Policeman," though it charted poorly. Unfortunate because it is a better song than many released in the late 70s.
The bouncy little ditty that follows, "Vote for Me," is pure fun. The song offers a rock style that has some similarity to Elton John's mid-70s music, and the lyrics are a parody of political promises made in every election year.
"Takin' It on Uptown" offers a Jimi Hendrix-style guitar driven rock song that bears little resemblance to any of the previous six songs. This powerful song is the fourth style offered in the first seven songs, and shows the breadth of ability of this phenomenal group. In spite of the heavy beat and the power instruments this song is enjoyable. While the next song, "This Time," offers horns, it too has a powerful guitar track that retains some of the flavor of the previous song. The latter song is a fun love song with all the hallmarks of classic Chicago music.
"The Inner Struggles of a Man" is a short instrumental that is somewhat reminiscent of the instrumentals on the first three Chicago albums. This track is shorter than most of those instrumentals, but the style is similar. The change in pace from the previous tracks is dramatic, with an orchestral sound including strings rather than jazz or rock instruments. This instrumental smoothly transitions to "Prelude (Little One)," a short (52 seconds) blues introduction to "Little One," which was the final track on the original release. The transition between "Prelude (Little One)" and "Little One" is not discernable. "Little One" features lead vocals by Terry Kath and his emotional vocals become in effect a poignant end to his recording career. Knowing that Terry Kath would soon be gone when this was recorded sends chills down my spine. "Little One" was released as a single with "Till the End of Time," achieving only modest success, rising to #44 on the hot 100 and #40 on the easy listening chart.
This version of "Chicago XI" features two bonus tracks, "Wish I Could Fly" and "Paris." "Wish I could Fly" is a rock instrumental that is a worthy addition to this CD. "Paris" is a bouncy rock tune with strong percussion. Both tracks are listed as being rehearsals. I think "Wish I Could Fly" is the better of the two bonus tracks. "Paris" is nice having and pushes the time for this CD to over 52 minutes, but is the weakest track on the entire CD.
Chicago started as a unique group. While this CD is less experimental than their earliest albums, the experimentation has given way to refinement. The result is a quality album that compares well to their most ambitious albums. Fans of Chicago's early, more progressive tracks will find this album lacks that type of music. This album stands as a testament to a group that marks the end of its first era with its release. This CD is a must have for fans of early Chicago music and for those who enjoy jazz-rock.
of the most popular musical forms and outputs. The King's Singers, a modern-day all male vocal group, demonstrate the authentic sound of which these 34 chosen madrigals may have been performed. In the Renaissance, in place of sopranos and altos, there were countertenors (men who sang falsetto in a feminine range). That's what these guys do; just listen to the first few and you'll automatically be transported back to this magical and sort of other-worldly time. If you've been to Renaissance fairs, it will make you think of those, too.
The King's Singers offer 34 well-chosen madrigals from composers like John Dowland, Hans Leo Hassler, Clement Jannequin and some composers who wished to remain anonymous. They are grouped by the different languages to show that the madrigal wasn't just the rage in Italy where it had originated but at various other places all over Europe, the hub of the music world. The Italian ones come first, then in English, French, Spanish and German. The best one in the set is "La Guerre" which runs 6 minutes, and is an incredible vocal showpiece. It's even very funny at times.
If you want to hear exactly how Renaissance madrigals sound, this is the real deal.
Gioacchino Rossini was born to a family of musicians in 1792. He began writing music at 15 and by 1829 he had written nearly 40 operas and had been the toast of society. He had early success in 1813 with "Tancredi" and in 1816 with "The Barber of Seville" (under the title of "Almaviva"). And while he wrote some songs and sacred works along the way, he won the world over with his operas and concluded with "Guillaume Tell" (William Tell) in 1829. Thereafter, he wrote sacred works and small works for his own delight that he shared with his friends at soirées in his home (they were regular and sought after events between 1857 until his death in 1868). He wrote hundreds of these pieces and would play the piano (he called himself a pianist of the fourth class) for the singers. Rossini referred to these short songs, pieces for small ensembles, and solo pieces as his "Sins of Old Age" ("Péchés de viellesse"), however he never printed them and, in fact, many of have yet to be printed (but should be).
This disk was recorded in 1990 just before Bartoli's twenty-fourth birthday. Her voice is so beautiful and flexible with many rich colors that each piece sounds like a jewel. Yes, she is a very young singer and her voice has become even richer as she has matured, but this is a glorious disk and something you will want to listen to repeatedly. Some of the songs are short, others are a bit longer, and there is the big finish with the full cantata "Giovanna d'Arco" ("Joan of Arc") from 1832 (but first publicly performed in 1859). It was composed as a gift for Olympe Pellisier, who became his second wife in 1847.
Enjoy!
Cecilia Bartoli made her mark early as an interpreter of Rossini's work and this album gives ample evidence that the buzz surrounding her early career was more than just hype. While she is known as today's pre-eminent mezzo-soprano, she was a virtual unknown when she recorded this.
Her technique and voice type are perfect for these songs but it is her obvious love for, and command of, the Rossini repetoire which set this CD apart from most.
The three installments of "La regatta Veneziana" may be the best on record, but buy this for "Giovanna D'Arco." This is masterful work, particularly from such a relatively young and, at the time, inexperienced singer.
While Cecilia' maturity and confidence in her abilities have, of late, made her performances sometimes seem almost effortless, the exuberance of a young Cecilia makes this set irresistable.
By far the most frequently performed of her works is the 'Akrostichon-Wortspiel, 7 scenes from fairy tales for soprano & orchestra' performed here with soprano Piia Komsi with Kazushi Ono conducting the InterContemporain Ensemble. It is a signature work of Chin, plying the extremes of writing for the voice with the exceptional palette of the orchestra. At a recent LA Philharmonic concert her 'Cantatrix Sopranica' (soprano voice) was given its US Premiere and it owes its roots to this earlier work. The current work employs two sopranos and a countertenor together with a battery of percussionists, keyboards, and the usual orchestral components to humorously explore the soprano voice - warm up, diva turns, texts of nonsense syllables, instruments imitating voices and voices imitating instruments. The visual aspect of Chin's music enhances the joy as she asks the performers to interact as though an opera were being staged. The result in this new work is a polished masterpiece that hopefully will soon be added to the recorded repertoire. The audience response was passionately wild!
Chin's other works on this splendid CD are of equal fascination: the 'Fantaisie m?canique, for 5 instrumentalists' (Patrick Davin conducts this one), 'Xi, for electronic ensemble' (with David Robertson conducting), and 'Double Concerto for piano, percussion & ensemble' (Samuel Favre and Dimitri Vassilakis are the adroit soloists and the conductor is Stefan Asbury).
One of the aspects of Chin's compositions is that they are not only accessible and rich in sonorous beauty, but they also have a sense of humor, something missing in most new works - except perhaps for Salonen and Adams and Knussen! Highly Recommended recording. We will be hearing much, much more about this bright star. Grady Harp, May 06
This music will simply blow your mind away. If you are already familiar with Schoenberg and Cage (which I think you are) and are an open minded avantgarde music listener, and believe in the freedom of music stylistics of today, then.... what are you waiting for. Buy this album now! You won't be dissapointed.
Unsuk Chin studied in the late 1980s with Gyorgy Ligeti, and the influence of the "later Ligeti" is very clear in her compositions. Chin's music preserves the same sense of whimsy as Ligeti in his "Nonsense Madrigals", and the same fascination with polyrhythms as the Hungarian composer's "Piano Concerto" and other late works. I should add that Chin is also writing a collection of piano etudes, which from those I have heard so far takes the genre far beyond Ligeti, and hopefully we will see a recording of these soon. Chin also displays a use of colour reminiscent of the best of Messiaen's oeuvre (like "Des Canyons aux Etoiles"). Her music, however, also shows great originality. She continually subverts Western traditions of composition. For her, the sounds usually produced by a European orchestra are "simply a 19th-century institution", and she seeks to approach non-European musical cultures through the European ensemble. Chin also has a fascination with the possibilities of electronics, brilliantly explored in the third piece here.
"Akrostichon-Wortspiel" for soprano and orchestra (1991/1993) purports to be seven scenes from children's books, but the passages selected--from Ende's "Never-ending Story" and Carroll's "Through the Looking-Glass"--are dissected until they remain a mere bundle of syllables. The writing for soprano is characterised by sudden changes of pitch, with the vocalist frequently dropping straight from a high note to menacing whispers. This must be one of the most difficult pieces for soprano in contemporary repertoire, and Piia Komsi shows here an agility of voice I didn't even think was possible. The range of sounds provided by the ensemble is extended by microtonal writing in which some of the instruments are returned by a quarter-tone or a sixth-tone. So much of contemporary music, as artistically daring and insightful as it might be, is quite dry, but "Akrostichon-Wortspiel" is a truly fun work. The sixth section, "Das Beliebigkeitsspiel" with its alphabetic games, is especially delightful. This is a live recording from Radio France, and there is some background noise in the beginning, but generally the sound is satisfying.
"Fantasie mecanique" for five instrumentalists (1994, rev. 1997) is a rigorously constructed piece that attempts to give the impression of improvisation. The opening introduces a sequence of four notes in the lowest register of the instruments, which is in a sense the foundation of the work, and which returns after a succession of three variations, three strophes, and two sections which emphasis the piece's mechanical side. Seven different metres are used among the instrumentalists, which are interwoven at the apex of the piece.
"Xi" for ensemble and electronics (1998) takes its title from the Korean work for the smallest unit of things. The piece is in five sections. It begins with the sound of breathing taken from an instrumental sound, and over the first four sections more and more real instrumental sounds are provided until the chromatic total is reached and heavily altered with electronics. At the end, the sound of breathing returns and the piece comes to an end in a cyclical manner. It took me some time to understand "Xi", but in the end I think it is a enjoyable work, and can stand along other successful electronic works such as Ligeti's "Artikulation" and Gubaidulina's "Vivente - Non Vivente".
The "Double Concerto" for prepared piano, percussion, and ensemble (2002) is the latest of the pieces here. The piano is prepared so that it is somewhat muted in the middle register, but left percussive elsewhere, so that contrast and created among the portions of the instrument. The orchestra is left far in the background, providing impulses that are then taken over by the soloists, and then taking ideas over from the soloists in a spectral manner. This piece sparkles with colour more than the other two purely instrumental works here, and is beautiful listening.
The liner notes give a short biography of Chin and an analysis of the four works here, as well as profiles of the performers and conductors. My only real concern with DG's presentation of the pieces is that although the latter three works are made up of multiple sections, they are each placed on a single track, but this may be what the composer desired. All in all, this is an entertaining disc. After listening to it over the last several months, and hearing three of her Etudes performed by a Chicago Symphony Orchestra pianist, I believe Unsuk Chin is one of the most promising contemporary composers.
"Akrostichon-Wortspiel" (Acrostic Wordplay -- 1991/1993 -- 15'48) features soprano vocals and ensemble. Playful in a way reminiscent of Ligeti, the vocals are unintelligible syllables extracted from Lewis Carroll and Michael Ende. "Fantasie mecanique" (1994 -- 12'37) for a quintet of trumpet, trombone, piano and two percussionists is a fast, rhythmic work which culminates in the interweaving of 7 different metres in a dense polyrhythm. "Xi" (1998 -- 22'48) is an electro-acoustic work which "develops organically from a set of primordial cells (xi -- Korean for the smallest unit, or the origin of all things) in the form of a single vast arc." IRCAM's technology is used to produce very organic-sounding results, more similar to Murail than Boulez. The "Double Concerto" (2002 -- 20'39) for prepared piano, percussion and ensemble, is a restless, mysterious piece with darting piano. The last two pieces strongly bear out Chin's assertion that she "feels a great deal of affinity with non-European musical cultures...I always try to introduce a completely different colour...based on my experience of non-European music." While "Xi" invokes Xenakis, it nonetheless is more spacious, more horizontal -- drifting. The Asian perspective makes itself felt within the framework of the European avant-garde.
It often seems these days that the post-serialist avant-garde is slipping into the past as various tonal "postmodern" musics have gained larger audiences, so I am quite happy to hear the music of Unsuk Chin, proudly continuing the tradition of Berio, Boulez, Carter, Ligeti, Nono and Xenakis. She joins Kaija Saariaho as a leading woman composer in contemporary music. I hope her "Violin Concerto," winner of the 2004 Grawemeyer Award, is being recorded as I write.
If you enjoy creative, complex, innovative modern music, you should hear this music of Unsuk Chin!
Also, I would have liked the booklet to include the words, but perhaps that is an inducement to get particular CDs from Naxos.
As for the music itself--breadth of selection, musicianship, sound quality, all are excellent. A great collection!
The selection of composers gives an excellent, broad sweep across several centuries.
But the booklet contains one of the most informative essays I've found about early music, and I've spent a few dozen dollars buying books. If the booklet were separated from the CDs, it alone would be worth more than $10.
In short, if you're interested in exploring early music, this really is one of the best places to start; the best place that I know of. I'm sure, at any rate, that you can't beat the value.
This collection is performed on period instruments of the 1500s, which include violins, viols, rebec, hurdy-gurdy, lutes, guitars, cittern, trumpets, cornetts, sackbuts, serpent, recorders, gemshorne, flutes, crumhorns, curtals, shawms, racketts, sorduns, regal, organ, harpischord and percussion. This particular recording is envisioned as if it were a single evenings' dance and entertainment at court, where dancing was as much an art form as it was a social event.
The music here derives from formal compositions of musics and tunes as well as popular folk songs. Susato is most likely not the composer of most of the music (indeed, may not be composer of any), but put things into arrangements that has a sensitivity both to the dance aspects as well as the artistic merits of the music itself.
The music here is performed by the New London Consort, a group with great experience in early and Renaissance music, under the direction of Philip Pickett. The pieces performed here range from small ensembles (4 lutes for one; regal and nakers for another) to pieces with massive orchestration (cornet, 3 sackbuts, 2 violins, 4 viols, 7 recorders, curtal, organ, harpischord, 5 guitars, side drums and tabors for one!).
This is a bright and lively recording. The purpose is to dance, and in the Renaissance and surrounding times, people danced with vigour, life and spirit! This is uplifting and fun music, the kind that makes one want to get up and move. This recording is simply brilliant from start to finish.
Some of my other favorites include the suite that has Fagot and the Hoeboeckens Dans (spelling is wrong, I know). I was also loaned the "sheet music" with the CD, a book containing most of the pieces on the disc. When you see it, you realize there are no percussion parts written and no instruments assigned to specific parts with the exception of clef signs. I am immensely impressed by the imagination of Pickett and the New London Consort in their instrumentation and transitions from piece to piece. The sound quality is great, and in the larger moments it sounds as if there is an entire early instrument symphony playing, it's that full. So often, early music sounds timid, wimpy, and small. This disc has a huge range of sound and the highs will elevate you and surely give you the urge to dance.
Unfortunately, my tape is gone (plus La Bataille hdd some missing music due to the recording flipping sides in the middle of the piece when I taped it), and the family friend is no longer a family friend, and now I have an empty place in my musical soul. I wish this would be re-issued. I would buy two.
Finally, I grew up surrounded by amateur early musicians, and my ears have been seriously battered by people trying to play sacbuts, krumhorns, serpents and hurdy-gurdys. While they look cool, many of these instruments are hell to make sound good. I was floored by the intonation, tone, and colors that the NLConsort achieve in this recording.
Besides, as a music fan, I also prefer choices of consorts giving back the early polyphony.
In my point, this interpretation of Pickett [a follower & student of D. Munrow] complies with these 3 requirements. Indeed, one gets in the mood of dancing to these songs.
The Bergeret "San Rocco" or the 11. Rondo are interpreted in a superb way, if I may emphasise particular songs.
Just two presonal "addenda" when I listened to this CD for the 1st time at Kaster & Ohler in Graz, I almost began crying - such a perfect CD.
Since currently I am in the vicinity of Antwerpen, the city where Tylman Susato lived & worked, I "made my pilgrimate" to see the Onze Lieve Vrouwe Kerk, where magister Tylman was the "Kapellenmeister" at that time.
Pity, that this item "out of stock". Fortunately, I have my own copy for 10 years.
Cerrone's Live Opera "Futuriste" United Both Classcal and Modern Musicians to Form an Extraordinary Symphonic and Synthetic Orchestra Along with an Illustrious Choir, L'opera De Paris, Incorporating Some of Rock's Greatest Vocalists Like Mary Hopkin and Steve Overland (From the Canadian Band FM). Keyboardists Include Larry Dunn from Earth, Wind and Fire, Geoff Downes of the Buggles, Yes and Asia and Jj Jeczalik of the Art of Noise.
Live Opera Futuriste - The Collector,Cerrone,Unidisc,Dance
Average customer rating: 
|
Chant
Gregorian Chant , and The Benedictine Monks of Santo Domingo de Silos Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD  Chamber Music
| Forms & Genres
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General
| Early Music
| Historical Periods
| Classical
| Styles
| Music
Sacred & Religious
| Early Music
| Historical Periods
| Classical
| Styles
| Music
| Requiems
Vocal & Song
| Early Music
| Historical Periods
| Classical
| Styles
| Music
| Requiems
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Chants
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
$9.99 and Under
| Blowout Music
| Stores
| Music
Classical
| Styles
| Blowout Music
| Stores
| Music
All Blowout Music
| Blowout Music
| Stores
| Music
$9.99 and Under
| Prices
| Blowout Music
| Stores
| Music
More Titles at Least 25% Off
| Blowout Music
| Stores
| Music
Similar Items:
ASIN: B000002SKX Release Date: 1994-03-15 |
Tracks:
- Puer Natus Est Nobis: Intriot (Modo VII)
- Os Iusti: Gradual (Modo I)
- Christus Factus Est Pro Nobis: Gradual (Modo V)
- Mandatum Novum Do Vobis: Antiphonal And Psalm 132 (Modo III)
- Media Vita In Morte Sumus: Responsorio (Modo IV)
- Alleluia, Beatus Vir Qui Suffert: (Modo I)
- Spiritus Domini: Introit (Modo VIII)
- Improperium: Offertorio (Modo VIII)
- Laetatus Sum: Gradual (Modo VII)
- Kyrie XI - A: (Modo I)
- Puer Natus In Bethlehem: Ritmo (Modo I)
- Jacta Cogitatum Tuum: Gradual (Modo VII)
- Verbum Caro Factum Est: Responsorio (Modo VII)
- Genuit Puerpera Regem: Antiphonal And Psalm 99 (Modo II)
- Occuli Omnium: Gradual (Modo VII)
- Ave Mundi Spes Maria: Sequenza (Modo I)
- Kyrie Fons Bonitatis: Trope (Modo III)
- Veni Sancte Spiritus: Sequenza (Modo I)
- Hosanna Filio David: Antiphonal (Modo VII)
Amazon.com
Thanks to good marketing, good cover art, and good luck, this disc probably has sold more copies than most other recordings of Gregorian chant put together. It's often quipped that most of those discs have been listened to exactly once and put away--to the puzzlement of many musicians and critics, who point out that there are more beautiful, more varied performances by professional singers available. Yet the singing of these Spanish Benedictines has a special quality that probably explains this disc's popularity--a reverent serenity that no doubt stems from the fact that the monks are actually praying, not just performing. Granted, Chant can become a bit monotonous with repeated listening, but it really gives you the sense of devotion that has always been the purpose of "Gregorian" chant. If this recording (ahem) enchants you at first, wonderful. If you get bored with it later, don't give up--there has been an extraordinary variety of styles and sounds over the 1,500-year history of plainchant, so go exploring with Anonymous 4, Ensemble Gilles Binchois, Sequentia, or Ensemble Organum. You won't be sorry. --Matthew WestphalCustomer Reviews:
Chant.......2007-06-25
Chant.......2007-03-09
Some things are ageless.
PEACE FROM WITHIN.......2007-01-09
Gregorian Chant.......2006-08-13
RELAXING.......2006-03-24
Average customer rating:
|
The Mystery Of Santo Domingo De Silos Gregorian Chant From Spain
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General
| Early Music
| Historical Periods
| Classical
| Styles
| Music
Sacred & Religious
| Early Music
| Historical Periods
| Classical
| Styles
| Music
| Requiems
Vocal & Song
| Early Music
| Historical Periods
| Classical
| Styles
| Music
| Requiems
General
| Sacred & Religious
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Chants
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Masses
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Oratorios
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
CDs $7 - $10
| Classical General
| Classical
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Classical General
| Classical
| Today's Deals in Music
| Formats
| Music
CDs $7 - $10
| Choruses
| Opera & Vocal
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Choruses
| Opera & Vocal
| Today's Deals in Music
| Formats
| Music
Deutsche Grammophon: Music
| Specialty Stores
| Music
Classical
| Imports
| Stores
| Music
Similar Items:
ASIN: B000001GMY Release Date: 1994-05-10 |
Tracks:
- Gregorian Chant From Spain: Prolegendum: Dominus regnavit
- Gregorian Chant From Spain: Tractus: Vide, Domine et considera
- Gregorian Chant From Spain: Lauda: Laudate Dominum, quoniam bonus est psalmus
- Gregorian Chant From Spain: Preces: Ecclesiam sanctam catholicam
- Gregorian Chant From Spain: Nomina offerentium: Per misericordiam tuam, Deus noster Deus noster
- Gregorian Chant From Spain: Antiphona: Pacem meam do vobis
- Gregorian Chant From Spain: Illatio: Introibo ad altare Dei mei
- Gregorian Chant From Spain: Sanctus
- Gregorian Chant From Spain: Post Sanctus: Vere sanctus, vere benedictus
- Gregorian Chant From Spain: Credo
- Gregorian Chant From Spain: Pater noster
- Gregorian Chant From Spain: Ad confractionem panis: Gustate et videte
- Gregorian Chant From Spain: Kyrie I
- Gregorian Chant From Spain: Kyrie II
- Gregorian Chant From Spain: Kyrie III
- Gregorian Chant From Spain: Gloria
- Gregorian Chant From Spain: Sacrificium: Offerte Domino
- Gregorian Chant From Spain: Sanctus
- Gregorian Chant From Spain: Agnus Dei I
- Gregorian Chant From Spain: Agnus Dei II
- Gregorian Chant From Spain: Antiphona: Statuit Dominus
- Gregorian Chant From Spain: Lamentatio Ieremiae Prophetae: Ego vir videns
Customer Reviews:
mystery and fact.......2006-05-07
Gregorian Chant as it should always be!.......2005-02-15
I hope to one day visit the abbey and listen to these chants in person and live. 22 tracks of solid gold chants and the voices are so in sync with each other that the real mystery is why there is not more monasteries like this one.
The best Chant CD on the market........2004-04-14
Un magnífico cd.......2001-11-18
A RARE EXPERIENCE!.......2000-09-12
Average customer rating:
|
Chicago Xi
Chicago Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
General
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Album-Oriented Rock (AOR)
| Classic Rock
| Styles
| Music
Rhino Records
| Amazon.com Label Stores
| Stores
| Music
Similar Items:
ASIN: B00007LTIQ Release Date: 2003-02-25 |
Tracks:
- Mississippi Delta City Blues
- Baby, What A Big Surprise
- Till The End Of Time
- Policeman
- Take Me Back To Chicago
- Vote For Me
- Takin' It On Uptown
- This Time
- The Inner Stuggles Of A Man
- Prelude (Little One)
- Little One
- Wish I Could Fly (Rehersal)
- Paris (Rehearsal)
Album Description
Expanded & remastered version of Chicago's 1977 album features 2 previously unreleased bonus tracks, 'Wish I Could Fly' (rehearsal)& 'Paris' (rehearsal). Rhino. 2003.Customer Reviews:
Chicago's Second Peak.......2006-06-19
Those that bemoan its departure from the sound of the first three albums seem to want near carbon copies of the same. Any new group has some signature, experimental style that got them noticed. They all tend toward some mainstream sound over time, partly because their novelty is no longer fresh, but partly based on what the fans seem to like.
Is it a soft, AC ballad? Is it a hard rocker? Funk? Rock band with horns? Others may debate the merits of each, but I hear Chicago - and I like it, whatever you want to call it.
XI closes the Terry Kath era, and I cannot add to the excellent comments along these lines. I do want to note two early signs of their future direction that have not been covered yet:
1) Danny Seraphine as song-writer. He will offer quality selections on each of the next five albums. You get a sense that he is a creative force in this middle period, giving them some directions and helping hold it together in the wake of Terry's death. This is just a guess on my part, but you cannot downplay his influence, beginning here. He is a big part of the bridge between the Kath/Guercio and Champlin/Foster era.
2) Lee and James' vocals herald the Champlin style. When I first heard Chicago 16 playing in a record store in 1982, I thought his voice must be either Lee or James on steroids. To me, they sound very similar. Here in the Kath era, you have these Champlin-like voices, and it turns out he was a very good fit for Chicago.
XI does not have a South California Purples, a Make Me Smile, an Approaching Storm.
But it is, clearly, Chicago. The music is accessible, but expertly and artistically done. Chicago's second era is the period when they perfect their record production chops. Listen to Chicago XI, and hear a musical team that knows how to make every variety of music. If the occasional pop song or ballad offends some underground FM enthusiast, well, tough.
I recommend this album to all music lovers.
Terry's Final Farewell.......2005-12-30
Mississippi Delta City Blues- Viewed by some fans as Terry's swan song. This song can be interpreted on multiple levels. Terry's laugh at the beginning of the song juxtaposed with the lyrics about masking his unhappiness is a very nice creative effect. Peter Cetera shines on the bass on this song. The guitar riff is catchy, the horns accent Terry and Peter's performance. Although this song had been around since Chicago's days playing the club circuit in the late sixties, the lyrics seem particularly pertinent to Terry's feelings at the time of its recording. His unhappiness is expressed throughout the song despite his somewhat jovial tone- it's almost eerie that this was recorded so close to Terry's death.
Baby What A Big Surprise- This is the rough in the diamonds, reinforcing the label of "ballad band" for Chicago. It might as well have been called If You Leave Me Now Part II- This Time We'll REALLY Give You Cavities.
Till the End of Time- James Pankow's second endeavour as lead vocalist. While somewhat slow, this song still contains a lot of the elements of earlier Chicago. The syrup doesn't run quite as thick as on Baby What a Big Surprise. The horns are still quite prominent, the vocals are well done by Pankow leaving some fans wondering why he only sang lead on two Chicago songs during his entire (and continued) tenure with the band. The harmony vocals at the end of the song are some of the best harmonies Chicago has ever done.
Policeman- Musically speaking it's not one of Robert Lamm's stronger songs. The lyrics however are written quite well in a story-telling style which is somewhat reminiscent of the songs of Gordon Lightfoot and Harry Chapin. The horns are quite prominent, Terry's guitar playing accents and compliments the horns nicely. The harmony vocals compliment both Lamm's vocals and the horns. Unfortunately after this song Lamm's songwriting skills seemed to fall into a slump.
Take Me Back to Chicago- A touching song written by Danny Seraphine and "Hawk" Wolinski for Freddy Page, the late drummer of the Illinois Speed Press. However with Terry's untimely passing being so close to the release of this album this song is seemingly just as much written for Terry as it's written for Page. The preach by Chaka Kahn at the end of the song is a nice touch. This is easily one of the best Danny Seraphine penned songs and it shows his emergence as a songwriter.
Vote For Me- Typical Robert Lamm political commentary. This song is quite tongue-in-cheek, however, lyrically speaking it seems a bit weaker than Policeman. On the musical end of things this song has a stronger feel to it than some of Robert's other endeavours from the late seventies.
Takin' It On Uptown- In a word WOW! Terry Kath at his absolute best! Both vocally and on guitar- Terry Kath shines on this album. Some of Terry's best playing since his marathon solos on Live at Carnegie Hall. The lyrics are written by Fred Kagan, however they seem to carry a similar theme to the lyrics of Mississippi Delta City Blues. This song has a more upbeat theme to it although Terry sings it in an almost angry, fed-up tone. Moreso than any other song of Terry's- this seems to be a duet between Terry the singer and Terry the guitarist.
This Time- For a slower song, Terry really jams on this song as well. Lee Loughnane's lead vocals are very reminiscent of Terry's soulful style in fact at first listen one would almost assume that it is indeed Terry, not Lee, on lead vocals. One of Lee's finer attempts at being a songwriter and a singer.
The Inner Struggles of A Man- The orchestration on this piece provides a beautiful segue from the more upbeat This Time to the more somber Little One. It's a very beautiful piece and it sounds like it could be used for a film.
Prelude (Little One)- Picking up where The Inner Struggles of A Man crescendoes this is an excellent lead-in to Little One.
Little One- Written by Danny Seraphine for his daughters, Terry puts his stamp on this piece as well. This song can easily be interpretted as being just as much for Michelle Kath as it is for Danny's daughters. The string orchestration in the background really compliments the horns and Terry's voice.
Good Songs In Kath's Last Hurrah.......2005-12-19
The album was a turning point in the band for many reasons. As mentioned in other posts, Chicago XI is Terry Kath's last album. The band would soon transition to disco in "Hot Streets," hard rock in "Chicago XIV" (well, Chicago's version of hard rock), and then the power ballads in the 80s. In addition, XI is James William Guercio's last Chicago album as the band forced the producer out following its release.
However, the album was also different for being less focused on Robert Lamm songs. As much as I enjoy Lamm's songs such as "Policeman," my favorite track is "Little One," co-written by Danny Seraphine and David Wolinski. Not only would the song be the last sung by Terry Kath, but it is a beautiful six minutes of soft rock.
Rhino's re-release of XI provided the additional tracks of Pankow's "Wish That I Could Fly" and Lamm's "Paris." Neither track is memorable, but both are OK additions.
XI is a good album for the Chicago faithful. However, Chicago X and Hot Streets solidly outshine this album with similar-sounding music.
Still Really Good.......2005-04-20
It's eerie that Kath's last recorded tune has him singing about hopping train "number 86" ("Takin' It On Uptown"). It's also still hard to hear him croon, "...'cause I will always be there" on "Little One." For a longtime Chicago fan, it's difficult to separate his death from the music.
But the music is good. After years of experimenting, Kath finally cemented "Mississippi Delta City Blues" into a terrific hook with workable lyrics. As an opener, it gets the set off to a great start. Peter Cetera's "Baby, What a Big Surprise" was the hit, and, all in all, it's not unpleasant. Trombonist James Pankow writes and sings the interesting "Till the End of Time," which is followed by Robert Lamm's mellow but excellent "Policeman." "Take Me Back to Chicago," a minor hit penned by drummer Danny Seraphine and Rufus hitmaker Hawk Wolinski, culminates in a terrific, almost gospel 'preach' fronted by the visiting Chaka Khan. Lamm's "Vote for Me" has always been hilarious, and, as I get older, the lyrics make much more sense.
Kath contributes perhaps the single greatest tune he ever wrote (with lyrics by Fred Kagan) with "Takin' It On Uptown." The wailing lead and chunky rythm guitar work meshes perfectly with Kath's growled vocals (punctuated effectively by Cetera in the background). This could easily stand as Kath's memorial. Trumpeter Lee Loughnane writes and sings the follow-up, "This Time"--a pleasing tune with a great hook. "Little One" and the build-up (written by Seraphine and Hawk) closes the orginal set with style and substance.
This being a re-release. there are bonus tracks. The first, Pankow's "Wish I Could Fly" is so cool, I wish Chicago had finished it. The second, Lamm's "Paris," is pretty bad.
The packaging and the liner notes for this edition of CHICAGO XI are well done. The remaster doesn't much improve on the sound quality, however, since the original LP was of high quality. Hey, at Amazon prices, this CD is well worth it.
Terry Kath's Final Contribution to Chicago.......2005-01-15
The CD kicks off with "Mississippi Delta City Blues," a mixture of Terry Kath's bluesy voice style with Chicago's strong horns and a rock beat to create a powerful song. The funky flavor of this song is indicative of the mid-70s era in which it was written and performed, and yet the jazz and blues provide this song with a timeless quality that make it as enjoyable to listen to today as 1977. This song is so fast-paced and instrument-laden that it flirts with the hard rock category.
The transition from the powerful "Mississippi Delta City Blues" to "Baby, What a Big Surprise" is very dramatic. The former is instrument and beat powered. This song is a love ballad focused on Peter Cetera's vocals and harmonies. This beautiful pop song hit #4 and was a hint of Chicago's transition to a pop band in the 80s.
The transition from "Baby, What a Big Surprise" to "Till the End of Time" is less dramatic than the transition into the previous song as this song is also relatively slow and mellow, but Chicago's signature horns and blues flavor make this song a ballad in Chicago's style of that time rather than the much mellower Peter Cetera pop song. The thick vocal style and layered sound are but some of the characteristics of the unique Chicago sound of this era.
"Policeman" is lyrically significantly different from the two previous love songs. The song is jazz and blues influenced, with a touch of keyboard, typical for the 70s. The song is poignant in that it combines the worst scenarios in life for policemen in general. Seeing the worst in life, hoping to make a difference, and the stress being a policeman causes in your personal life. With so many songs that are down on the police, this blues song looks at their life from their side, a look that puts in perspective that police are people with a tough job.
The next song, "Take Me Back to Chicago," is a funky jazz celebration of Chicago, the city. The singer is apparently in Los Angeles, longing for Lake Michigan and Tastee Freeze and probably Lakeshore Drive. This song offers a mellow start with little keyboard flavors. The song breaks into stronger jazz sections that proclaim how enthusiastic the band is about Chicago. This song was released as a single with "Policeman," though it charted poorly. Unfortunate because it is a better song than many released in the late 70s.
The bouncy little ditty that follows, "Vote for Me," is pure fun. The song offers a rock style that has some similarity to Elton John's mid-70s music, and the lyrics are a parody of political promises made in every election year.
"Takin' It on Uptown" offers a Jimi Hendrix-style guitar driven rock song that bears little resemblance to any of the previous six songs. This powerful song is the fourth style offered in the first seven songs, and shows the breadth of ability of this phenomenal group. In spite of the heavy beat and the power instruments this song is enjoyable. While the next song, "This Time," offers horns, it too has a powerful guitar track that retains some of the flavor of the previous song. The latter song is a fun love song with all the hallmarks of classic Chicago music.
"The Inner Struggles of a Man" is a short instrumental that is somewhat reminiscent of the instrumentals on the first three Chicago albums. This track is shorter than most of those instrumentals, but the style is similar. The change in pace from the previous tracks is dramatic, with an orchestral sound including strings rather than jazz or rock instruments. This instrumental smoothly transitions to "Prelude (Little One)," a short (52 seconds) blues introduction to "Little One," which was the final track on the original release. The transition between "Prelude (Little One)" and "Little One" is not discernable. "Little One" features lead vocals by Terry Kath and his emotional vocals become in effect a poignant end to his recording career. Knowing that Terry Kath would soon be gone when this was recorded sends chills down my spine. "Little One" was released as a single with "Till the End of Time," achieving only modest success, rising to #44 on the hot 100 and #40 on the easy listening chart.
This version of "Chicago XI" features two bonus tracks, "Wish I Could Fly" and "Paris." "Wish I could Fly" is a rock instrumental that is a worthy addition to this CD. "Paris" is a bouncy rock tune with strong percussion. Both tracks are listed as being rehearsals. I think "Wish I Could Fly" is the better of the two bonus tracks. "Paris" is nice having and pushes the time for this CD to over 52 minutes, but is the weakest track on the entire CD.
Chicago started as a unique group. While this CD is less experimental than their earliest albums, the experimentation has given way to refinement. The result is a quality album that compares well to their most ambitious albums. Fans of Chicago's early, more progressive tracks will find this album lacks that type of music. This album stands as a testament to a group that marks the end of its first era with its release. This CD is a must have for fans of early Chicago music and for those who enjoy jazz-rock.
Average customer rating:
|
Madrigal History Tour
The King's Singers , The Consorte of Musicke , various/anonymous/traditional , and Anthony Rooley Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Byrd, William
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Dowland
| Dowland, John
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Gibbons, Orlando
| ( G )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Lassus
| Lassus, Orlando di(Lasso)
| ( L )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Le Jeune, Claude
| ( L )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
General
| Renaissance (c.1450-1600)
| Historical Periods
| Classical
| Styles
| Music
Lute
| Strings
| Instruments
| Classical
| Styles
| Music
King's Singers
| ( K )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Chansons
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Madrigals
| Songs & Lieder
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
General
| Songs & Lieder
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Partsongs
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
4-for-3 Classical
| 4-for-3 Music
| Stores
| Music
4-for-3 All Music
| 4-for-3 Music
| Stores
| Music
Similar Items:
ASIN: B000246J7M Release Date: 2004-01-01 |
Tracks:
- Amor Vittorioso
- Lirum Bililirum
- Il Bianco E Dolce Cigno
- La Bella Franceschina
- Ultima Mei Sospiri
- Alla Cazza
- Or Si Rallegri Il Cielo
- Fine Knacks For Ladies
- Who Made Thee, Hob, Forsake The Plough
- Of All The Birds That I Do Know
- Too Much I Once Lamented
- Fair Phyllis I Saw
- The Silver Swan
- Now Is The Month Of Maying
- La Guerre
- La, La, La, Je Ne L'ose Dire
- Bon Jour: Et Puis, Quelles Nouvelles
- Mignonne, Allons Voir Si La Rose
- Il Est Bel Et Bon
- Margot Labourez Les Vignes
- Un Gentil Armoureux
- Faulte D'Argent
- La Tricotea Samartin La Vea
- Triste Estaba El Rey David
- Cucu, Cucu!
- Tres Morillas M'enamoran
- Fatal La Parte
- La Bomba
- Tanzen Und Springen
- Vitrum Nostrum Gloriosum
- Ach Elsein, Liebes Elselein
- Ach, Weh Des Leiden
- Das G'Laut Zu Speyer
- Herzliebstes Bild
Customer Reviews:
Ever wondered what was before Bach, Lully, or Palestrina?.......2007-04-29
of the most popular musical forms and outputs. The King's Singers, a modern-day all male vocal group, demonstrate the authentic sound of which these 34 chosen madrigals may have been performed. In the Renaissance, in place of sopranos and altos, there were countertenors (men who sang falsetto in a feminine range). That's what these guys do; just listen to the first few and you'll automatically be transported back to this magical and sort of other-worldly time. If you've been to Renaissance fairs, it will make you think of those, too.
The King's Singers offer 34 well-chosen madrigals from composers like John Dowland, Hans Leo Hassler, Clement Jannequin and some composers who wished to remain anonymous. They are grouped by the different languages to show that the madrigal wasn't just the rage in Italy where it had originated but at various other places all over Europe, the hub of the music world. The Italian ones come first, then in English, French, Spanish and German. The best one in the set is "La Guerre" which runs 6 minutes, and is an incredible vocal showpiece. It's even very funny at times.
If you want to hear exactly how Renaissance madrigals sound, this is the real deal.
Average customer rating: 
|
Virtual XI
Iron Maiden Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
New Wave
| New Wave & Post-Punk
| Alternative Rock
| Styles
| Music
Britain
| British Isles
| Europe
| International
| Styles
| Music
General
| Rock
| Styles
| Music
British Metal
| Hard Rock & Metal
| Styles
| Music
General
| Hard Rock & Metal
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Similar Items:
ASIN: B000063DGM Release Date: 2002-03-26 |
Tracks:
- Futureal
- Angel and the Gambler
- Lightning Strikes Twice
- Clansman
- When Two Worlds Collide - Steve Harris, Iron Maiden,
- Educated Fool
- Don't Look to the Eyes of a Stranger
- Como Estais Amigos
Customer Reviews:
Second Album By This Line Up, Great Follow up Album.......2007-06-26
SHORTER THAN THE X FACTOR. BLAZE BAYLEY SOUNDS MORE COMFORTABLE IN VIRTUAL XI.............................2007-06-22
Iron Maiden - Blaze Bailey At The Helm For A Decent Release.......2007-05-21
Listen to it again and again..........2007-04-17
another great album, dispite the harsh reviews.......2007-04-06
Average customer rating:
|
Cecilia Bartoli - Rossini recital ~ 19 songs & Cantata: Giovanna d'Arco
Manufacturer: Polygram Int'l ProductGroup: Music Binding: Audio CD All Works Featuring Bartoli
| Bartoli, Cecilia
| A to B
| Featured Performers, A-Z
| Opera & Vocal
| Styles
| Music
Rossini, Gioacchino
| Q to T
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Bartoli, Cecilia
| Divas
| Opera & Vocal
| Styles
| Music
Chamber Music
| Forms & Genres
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Bartoli, Cecilia
| ( B )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
All Works by Rossini
| Rossini, Gioacchino
| ( R )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Classical
| Imports
| Stores
| Music
Similar Items:
ASIN: B0000041YF Release Date: 1990-12-21 |
Tracks:
- La Pastorella
- Belta Crudele
- Il Trovatore
- La Regata Veneziana
- Mi Lagnero Tacendo
- Il Risentimento
- La Grande Coquette
- Ariette A Lancienne
- L'orpheline Du Tyrol
- La Legende De Marguerita
- Nizza
- L'ame Delaissee
- Canzonetta Spagnuola
- Giovanni D'arco
Customer Reviews:
A young Bartoli sings rarely heard Rossini songs beatifully - a treasure of a disk.......2006-01-03
Gioacchino Rossini was born to a family of musicians in 1792. He began writing music at 15 and by 1829 he had written nearly 40 operas and had been the toast of society. He had early success in 1813 with "Tancredi" and in 1816 with "The Barber of Seville" (under the title of "Almaviva"). And while he wrote some songs and sacred works along the way, he won the world over with his operas and concluded with "Guillaume Tell" (William Tell) in 1829. Thereafter, he wrote sacred works and small works for his own delight that he shared with his friends at soirées in his home (they were regular and sought after events between 1857 until his death in 1868). He wrote hundreds of these pieces and would play the piano (he called himself a pianist of the fourth class) for the singers. Rossini referred to these short songs, pieces for small ensembles, and solo pieces as his "Sins of Old Age" ("Péchés de viellesse"), however he never printed them and, in fact, many of have yet to be printed (but should be).
This disk was recorded in 1990 just before Bartoli's twenty-fourth birthday. Her voice is so beautiful and flexible with many rich colors that each piece sounds like a jewel. Yes, she is a very young singer and her voice has become even richer as she has matured, but this is a glorious disk and something you will want to listen to repeatedly. Some of the songs are short, others are a bit longer, and there is the big finish with the full cantata "Giovanna d'Arco" ("Joan of Arc") from 1832 (but first publicly performed in 1859). It was composed as a gift for Olympe Pellisier, who became his second wife in 1847.
Enjoy!
Rossini really could write; Bartoli really can sing.......2005-08-31
Cecilia Bartoli made her mark early as an interpreter of Rossini's work and this album gives ample evidence that the buzz surrounding her early career was more than just hype. While she is known as today's pre-eminent mezzo-soprano, she was a virtual unknown when she recorded this.
Her technique and voice type are perfect for these songs but it is her obvious love for, and command of, the Rossini repetoire which set this CD apart from most.
The three installments of "La regatta Veneziana" may be the best on record, but buy this for "Giovanna D'Arco." This is masterful work, particularly from such a relatively young and, at the time, inexperienced singer.
While Cecilia' maturity and confidence in her abilities have, of late, made her performances sometimes seem almost effortless, the exuberance of a young Cecilia makes this set irresistable.
Average customer rating:
|
Unsuk Chin: Akrostichon-Wortspiel
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General
| Concertos
| Forms & Genres
| Classical
| Styles
| Music
Chamber Music
| Forms & Genres
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
Electronic
| Instruments
| Classical
| Styles
| Music
| Computer
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
| Music
Deutsche Grammophon: Music
| Specialty Stores
| Music
Similar Items:
ASIN: B0006VXF2S Release Date: 2005-03-08 |
Customer Reviews:
A Bright and Shining Light.......2006-05-11
By far the most frequently performed of her works is the 'Akrostichon-Wortspiel, 7 scenes from fairy tales for soprano & orchestra' performed here with soprano Piia Komsi with Kazushi Ono conducting the InterContemporain Ensemble. It is a signature work of Chin, plying the extremes of writing for the voice with the exceptional palette of the orchestra. At a recent LA Philharmonic concert her 'Cantatrix Sopranica' (soprano voice) was given its US Premiere and it owes its roots to this earlier work. The current work employs two sopranos and a countertenor together with a battery of percussionists, keyboards, and the usual orchestral components to humorously explore the soprano voice - warm up, diva turns, texts of nonsense syllables, instruments imitating voices and voices imitating instruments. The visual aspect of Chin's music enhances the joy as she asks the performers to interact as though an opera were being staged. The result in this new work is a polished masterpiece that hopefully will soon be added to the recorded repertoire. The audience response was passionately wild!
Chin's other works on this splendid CD are of equal fascination: the 'Fantaisie m?canique, for 5 instrumentalists' (Patrick Davin conducts this one), 'Xi, for electronic ensemble' (with David Robertson conducting), and 'Double Concerto for piano, percussion & ensemble' (Samuel Favre and Dimitri Vassilakis are the adroit soloists and the conductor is Stefan Asbury).
One of the aspects of Chin's compositions is that they are not only accessible and rich in sonorous beauty, but they also have a sense of humor, something missing in most new works - except perhaps for Salonen and Adams and Knussen! Highly Recommended recording. We will be hearing much, much more about this bright star. Grady Harp, May 06
masterpieces!!!.......2006-01-20
This music will simply blow your mind away. If you are already familiar with Schoenberg and Cage (which I think you are) and are an open minded avantgarde music listener, and believe in the freedom of music stylistics of today, then.... what are you waiting for. Buy this album now! You won't be dissapointed.
World-premiere recordings of a promising young artist.......2005-07-17
Unsuk Chin studied in the late 1980s with Gyorgy Ligeti, and the influence of the "later Ligeti" is very clear in her compositions. Chin's music preserves the same sense of whimsy as Ligeti in his "Nonsense Madrigals", and the same fascination with polyrhythms as the Hungarian composer's "Piano Concerto" and other late works. I should add that Chin is also writing a collection of piano etudes, which from those I have heard so far takes the genre far beyond Ligeti, and hopefully we will see a recording of these soon. Chin also displays a use of colour reminiscent of the best of Messiaen's oeuvre (like "Des Canyons aux Etoiles"). Her music, however, also shows great originality. She continually subverts Western traditions of composition. For her, the sounds usually produced by a European orchestra are "simply a 19th-century institution", and she seeks to approach non-European musical cultures through the European ensemble. Chin also has a fascination with the possibilities of electronics, brilliantly explored in the third piece here.
"Akrostichon-Wortspiel" for soprano and orchestra (1991/1993) purports to be seven scenes from children's books, but the passages selected--from Ende's "Never-ending Story" and Carroll's "Through the Looking-Glass"--are dissected until they remain a mere bundle of syllables. The writing for soprano is characterised by sudden changes of pitch, with the vocalist frequently dropping straight from a high note to menacing whispers. This must be one of the most difficult pieces for soprano in contemporary repertoire, and Piia Komsi shows here an agility of voice I didn't even think was possible. The range of sounds provided by the ensemble is extended by microtonal writing in which some of the instruments are returned by a quarter-tone or a sixth-tone. So much of contemporary music, as artistically daring and insightful as it might be, is quite dry, but "Akrostichon-Wortspiel" is a truly fun work. The sixth section, "Das Beliebigkeitsspiel" with its alphabetic games, is especially delightful. This is a live recording from Radio France, and there is some background noise in the beginning, but generally the sound is satisfying.
"Fantasie mecanique" for five instrumentalists (1994, rev. 1997) is a rigorously constructed piece that attempts to give the impression of improvisation. The opening introduces a sequence of four notes in the lowest register of the instruments, which is in a sense the foundation of the work, and which returns after a succession of three variations, three strophes, and two sections which emphasis the piece's mechanical side. Seven different metres are used among the instrumentalists, which are interwoven at the apex of the piece.
"Xi" for ensemble and electronics (1998) takes its title from the Korean work for the smallest unit of things. The piece is in five sections. It begins with the sound of breathing taken from an instrumental sound, and over the first four sections more and more real instrumental sounds are provided until the chromatic total is reached and heavily altered with electronics. At the end, the sound of breathing returns and the piece comes to an end in a cyclical manner. It took me some time to understand "Xi", but in the end I think it is a enjoyable work, and can stand along other successful electronic works such as Ligeti's "Artikulation" and Gubaidulina's "Vivente - Non Vivente".
The "Double Concerto" for prepared piano, percussion, and ensemble (2002) is the latest of the pieces here. The piano is prepared so that it is somewhat muted in the middle register, but left percussive elsewhere, so that contrast and created among the portions of the instrument. The orchestra is left far in the background, providing impulses that are then taken over by the soloists, and then taking ideas over from the soloists in a spectral manner. This piece sparkles with colour more than the other two purely instrumental works here, and is beautiful listening.
The liner notes give a short biography of Chin and an analysis of the four works here, as well as profiles of the performers and conductors. My only real concern with DG's presentation of the pieces is that although the latter three works are made up of multiple sections, they are each placed on a single track, but this may be what the composer desired. All in all, this is an entertaining disc. After listening to it over the last several months, and hearing three of her Etudes performed by a Chicago Symphony Orchestra pianist, I believe Unsuk Chin is one of the most promising contemporary composers.
diverse lush and enchanting soundworlds.......2005-05-09
"Akrostichon-Wortspiel" (Acrostic Wordplay -- 1991/1993 -- 15'48) features soprano vocals and ensemble. Playful in a way reminiscent of Ligeti, the vocals are unintelligible syllables extracted from Lewis Carroll and Michael Ende. "Fantasie mecanique" (1994 -- 12'37) for a quintet of trumpet, trombone, piano and two percussionists is a fast, rhythmic work which culminates in the interweaving of 7 different metres in a dense polyrhythm. "Xi" (1998 -- 22'48) is an electro-acoustic work which "develops organically from a set of primordial cells (xi -- Korean for the smallest unit, or the origin of all things) in the form of a single vast arc." IRCAM's technology is used to produce very organic-sounding results, more similar to Murail than Boulez. The "Double Concerto" (2002 -- 20'39) for prepared piano, percussion and ensemble, is a restless, mysterious piece with darting piano. The last two pieces strongly bear out Chin's assertion that she "feels a great deal of affinity with non-European musical cultures...I always try to introduce a completely different colour...based on my experience of non-European music." While "Xi" invokes Xenakis, it nonetheless is more spacious, more horizontal -- drifting. The Asian perspective makes itself felt within the framework of the European avant-garde.
It often seems these days that the post-serialist avant-garde is slipping into the past as various tonal "postmodern" musics have gained larger audiences, so I am quite happy to hear the music of Unsuk Chin, proudly continuing the tradition of Berio, Boulez, Carter, Ligeti, Nono and Xenakis. She joins Kaija Saariaho as a leading woman composer in contemporary music. I hope her "Violin Concerto," winner of the 2004 Grawemeyer Award, is being recorded as I write.
If you enjoy creative, complex, innovative modern music, you should hear this music of Unsuk Chin!
Average customer rating:
|
Discover Early Music
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Byrd, William
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Dowland
| Dowland, John
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Dufay
| Dufay, Guillaume
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Gesualdo
| Gesualdo, Carlo
| ( G )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Hildegard of Bingen
| ( H )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Lassus
| Lassus, Orlando di(Lasso)
| ( L )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Obrecht
| Obrecht, Jacob
| ( O )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Tallis
| Tallis, Thomas
| ( T )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Taverner
| Taverner, John
| ( T )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Rondos
| Forms & Genres
| Classical
| Styles
| Music
General
| Early Music
| Historical Periods
| Classical
| Styles
| Music
Sacred & Religious
| Early Music
| Historical Periods
| Classical
| Styles
| Music
| Requiems
Vocal & Song
| Early Music
| Historical Periods
| Classical
| Styles
| Music
| Requiems
General
| Renaissance (c.1450-1600)
| Historical Periods
| Classical
| Styles
| Music
Sacred & Religious
| Renaissance (c.1450-1600)
| Historical Periods
| Classical
| Styles
| Music
General
| Sacred & Religious
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
| Music
Compilations
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Oratorios
| Opera & Vocal
| Styles
| Music
Chansons
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Chants
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Lieder
| Songs & Lieder
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Madrigals
| Songs & Lieder
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Masses
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Motets
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Oratorios
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Psalms
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Renaissance (c.1450-1600)
| Historical Periods
| Opera & Vocal
| Styles
| Music
General
| Instructional
| Miscellaneous
| Styles
| Music
$7.99 and Under
| Classical Music Blowout
| Stores
| Music
All Classical Music Blowout
| Classical Music Blowout
| Stores
| Music
Byrd, William
| ( B )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Dowland, John
| ( D )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Dufay, Guillaume
| ( D )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Gesualdo, Carlo
| ( G )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Hildegard of Bingen
| ( H )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Lassus, Orlando di(Lasso)
| ( L )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Obrecht, Jacob
| ( O )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Tallis, Thomas
| ( T )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Taverner, John
| ( T )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Opera & Vocal
| Classical Music Blowout
| Stores
| Music
Similar Items:
ASIN: B000B6N6BI Release Date: 2005-11-01 |
Tracks:
- Antiphona Post Evangelium - In Dulci Jubilo
- Versus Alleluiatici: Adorabo - Nova Schola Gregoriana
- Ordo Virtutum: Procession - Oxford Camerata
- Viderunt Omnes - Tonus Peregrinus
- Fines Terre Salutare Dei Nostri Jubilate Deo Omnis Terra (Plainchant) - Tonus Peregrinus
- Notum Fecit - Tonus Peregrinus
- Dominus - Tonus Peregrinus
- Salutare Suum Ante Conspectum Gentium Revelavit - Tonus Peregrinus
- Justitiam Suam (Plainchant) - Tonus Peregrinus
- Gaudete Christus Est Natus - Oxford Camerata
- Cantiga De Santa Maria - Michael Posch
- Exiit Diluculo - Unicorn Ensemble
- Humils Forfaitz - Michael Posch
- Adieu Ces Bons Vins De Lannoys - Michael Posch
- Non Avra Ma'Pieta Questa Mia Donna - Michael Posch
- Non Ara May Pieta Questa Mia Dona - Michael Posch
- Veni Creator - Tonus Peregrinus
- D'Ung Aultre Amer - Capilla Flamenca
- Alleluya - Capilla Flamenca
- El Grillo - Shirley Rumsey
- El Grillo - Capilla Flamenca
- Missa 'La Sol Fa Re Mi': Kyrie - Capilla Flamenca
- Le Chant Des Oiseaux - The Scholars Of London
- Passe & Medio/Den Iersten Gaillarde - Capilla Flamenca
- Den III Ronde, Den VI Ronde-Les Quatre Branles - Convivium Musicum Gothenburgense
- Gaillarde I, II, III - Convivium Musicum Gothenburgense
Tracks:
- In Nomine - Rose Consort Of Viols
- In Nomine No.20 - Rose Consort Of Viols
- Spem In Alium - Oxford Camerata
- Sanctus - Oxford Camerata
- Du Fond De Ma Pensee - Christine Morel
- The King Of Denmark's Galiard - Rose Consort Of Viols
- Flow, My Tears - Dorothy Linell
- Greiner Zancker - Ensemble Villanella
- Stat ('Tsaat) Ein Meskin - Ensemble Villanella
- Tiento - Shirley Rumsey
- Tribulationem Et Dolorem - Oxford Camerata
- Lagrime Di San Pietro: 'Il Magnanimo Pietro' - Bo Holten
- Missa 'Susanne Un Jour': Kyrie - Oxford Camerata
- Beau Le Crystal - The Scholars Of London
- Missa 'O Magnum Mysterium': O Magnum Mysterium - Oxford Camerata
- Missa 'Papae Marcelli': Kyrie - Oxford Camerata
Customer Reviews:
another winner from Naxos.......2007-02-21
Also, I would have liked the booklet to include the words, but perhaps that is an inducement to get particular CDs from Naxos.
As for the music itself--breadth of selection, musicianship, sound quality, all are excellent. A great collection!
awesome value -- 5+ stars.......2006-07-15
The selection of composers gives an excellent, broad sweep across several centuries.
But the booklet contains one of the most informative essays I've found about early music, and I've spent a few dozen dollars buying books. If the booklet were separated from the CDs, it alone would be worth more than $10.
In short, if you're interested in exploring early music, this really is one of the best places to start; the best place that I know of. I'm sure, at any rate, that you can't beat the value.
Average customer rating:
|
Tielman Susato: Dansereye 1551
Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Baroque Dance Suites
| Ballets & Dances
| Classical
| Styles
| Music
| Allemandes
| Courantes
| Gigue
| Sarabande
Ballets & Dances
| Renaissance (c.1450-1600)
| Historical Periods
| Classical
| Styles
| Music
Pickett, Philip
| ( P )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
| Music
Similar Items:
ASIN: B000004CY2 Release Date: 1994-03-15 |
Tracks:
- Fanfare (aftr La Morisque arr. Pickett)
- Passe et medio/Reprise 'Le pingne'
- Bergerette 'Sans roch'/Reprise
- Den I. Ronde 'Pour quoy'
- Den VII. Ronde 'Il estoit une filette'
- Den III. Ronde
- Den IV. Ronde
- Den V. Ronde (Wo bistu)
- Den VI. Ronde/Saltarelle
- Den XI. Ronde/Aliud
- Bergerette 'Dont vient cela'/Reprise
- Danse de Hercules oft maticine/De Matrigale
- De Post
- Les quatre Branles
- Fagot
- Den Hoboeckendans
- Basse Danse 'Mon desir'/Reprise 'Le cueur est bon'
- Den I. Allemainge/Recoupe
- Den II. Allemainge
- Den III. Allemainge
- Den V. Allemainge
- Den VI. Allemainge
- Den VII. Allemainge
- Den VIII. Allemainge/Recoupe/
- Bergerette (La Brosse)
- Pavane La Battaille
- Pavane Mille Regretz
- Den II. Gaillarde
- Den XI. Gaillarde
- Den IX. Gaillarde
- Den IV. Gaillarde
- Den VII. Gaillarde
- Den X. Gaillarde 'Mille ducas'
- Den III. Gaillarde
- Den XV. Gaillarde 'Le Tout'
- Danse du Roy/Reprise
- Entre du Fol
- La Morisque
Customer Reviews:
good sound but sterile.......2007-04-07
Pop music of another age.......2005-10-04
This collection is performed on period instruments of the 1500s, which include violins, viols, rebec, hurdy-gurdy, lutes, guitars, cittern, trumpets, cornetts, sackbuts, serpent, recorders, gemshorne, flutes, crumhorns, curtals, shawms, racketts, sorduns, regal, organ, harpischord and percussion. This particular recording is envisioned as if it were a single evenings' dance and entertainment at court, where dancing was as much an art form as it was a social event.
The music here derives from formal compositions of musics and tunes as well as popular folk songs. Susato is most likely not the composer of most of the music (indeed, may not be composer of any), but put things into arrangements that has a sensitivity both to the dance aspects as well as the artistic merits of the music itself.
The music here is performed by the New London Consort, a group with great experience in early and Renaissance music, under the direction of Philip Pickett. The pieces performed here range from small ensembles (4 lutes for one; regal and nakers for another) to pieces with massive orchestration (cornet, 3 sackbuts, 2 violins, 4 viols, 7 recorders, curtal, organ, harpischord, 5 guitars, side drums and tabors for one!).
This is a bright and lively recording. The purpose is to dance, and in the Renaissance and surrounding times, people danced with vigour, life and spirit! This is uplifting and fun music, the kind that makes one want to get up and move. This recording is simply brilliant from start to finish.
Beautifully imagined.......2005-09-06
Some of my other favorites include the suite that has Fagot and the Hoeboeckens Dans (spelling is wrong, I know). I was also loaned the "sheet music" with the CD, a book containing most of the pieces on the disc. When you see it, you realize there are no percussion parts written and no instruments assigned to specific parts with the exception of clef signs. I am immensely impressed by the imagination of Pickett and the New London Consort in their instrumentation and transitions from piece to piece. The sound quality is great, and in the larger moments it sounds as if there is an entire early instrument symphony playing, it's that full. So often, early music sounds timid, wimpy, and small. This disc has a huge range of sound and the highs will elevate you and surely give you the urge to dance.
Unfortunately, my tape is gone (plus La Bataille hdd some missing music due to the recording flipping sides in the middle of the piece when I taped it), and the family friend is no longer a family friend, and now I have an empty place in my musical soul. I wish this would be re-issued. I would buy two.
Finally, I grew up surrounded by amateur early musicians, and my ears have been seriously battered by people trying to play sacbuts, krumhorns, serpents and hurdy-gurdys. While they look cool, many of these instruments are hell to make sound good. I was floored by the intonation, tone, and colors that the NLConsort achieve in this recording.
A perfectly functional music.......2005-06-21
Besides, as a music fan, I also prefer choices of consorts giving back the early polyphony.
In my point, this interpretation of Pickett [a follower & student of D. Munrow] complies with these 3 requirements. Indeed, one gets in the mood of dancing to these songs.
The Bergeret "San Rocco" or the 11. Rondo are interpreted in a superb way, if I may emphasise particular songs.
Just two presonal "addenda" when I listened to this CD for the 1st time at Kaster & Ohler in Graz, I almost began crying - such a perfect CD.
Since currently I am in the vicinity of Antwerpen, the city where Tylman Susato lived & worked, I "made my pilgrimate" to see the Onze Lieve Vrouwe Kerk, where magister Tylman was the "Kapellenmeister" at that time.
Pity, that this item "out of stock". Fortunately, I have my own copy for 10 years.
Excellent interpretation for music of the period..........1999-05-27
Average customer rating:
|
Brubeck: To Hope! A Celebration
Dave Brubeck , Nancy Bittner , Mark Bleeke , Judy Davis , and Cathedral Choral Society Manufacturer: Telarc ProductGroup: Music Binding: Audio CD All Works by Brubeck
| Brubeck, Dave
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
Cool Jazz
| Jazz
| Styles
| Music
General
| Jazz
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Masses
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Similar Items:
ASIN: B000003D1X Release Date: 1996-07-23 |
Tracks:
- I. Processional
- II. Lord, Have Mercy
- III. The Desert And The Parched Land
- IV. The Peace Of Jerusalem
- V. Alleluia
- VI. Father, All Powerful
- VII. Holy, Holy, Holy
- VIII. While He Was At Supper
- IX. When We Eat This Bread
- X. Through Him, With Him
- XI. Great Amen
- XII. Our Father
- XIII. Lamb Of God
- XIV. All My Hope
- XV. Gloria
Customer Reviews:
An Uplifting and Amazing Work.......2007-07-29
Beautiful choral work + great jazz.......2007-02-09
Lackluster Effort.......2004-05-05
A Worthy Effort.......2002-07-23
A Celebration of Dave Brubecks Works.......2000-03-15
Album Review:
- XV [Import]
- Yours Fatally, Pt. 1 [CD-single] [Import]
- 21st Century Disco 2003 [Import]
- 21st Century Disco [Import]
- Ambient Lounge, Vol. 7 [Import]
- Angel [CD-single] [Import]
- Arabian Nights [Limited Edition] [Import]
- Backfire [CD-single] [Import]
- Backsome EP [EP]
- Best Korea [Import]
Album Review
Edward Staempfli: String Quintet; Duo I; Les Poèmes d'Amour; Klangstudien
Emmanuel Chabrier: Works For Piano
Music CD: Mandelstam [Live] [Import]
Knowledge Scars [Explicit Lyrics]
Gli Amori Sono in Noi (Sanremo 2003) [Import]
Haydn: Symphonies No. 6, 7 & 8
Hood Journal [Explicit Lyrics]