Liverpool (Dig) [Import]

Product Description
Reissue of the new wave dance act's sophomore album, originally released in 1986. Includes two rare bonus tracks, 'Don't Lose What's Left Of Your Little Mind' taken from the 7' single to 'Rage Hard' & 'Suffragette City (Bowie Cover!) taken from the 'Rage Hard' 12' Single. Bloody Essential! Packaged in an exclusive digi-pack with all new extensive liner notes. 2000 release.

Tracks:

Panis Angelicus
Miserere
Muoio Per Te
Caruso
One More Day
Ave Maria
In Liverpool
Sentinel
L'Urlo
Too Much Love Will Kill You
It's Probably Me
Room 19 (Sha La La La Lee)
Les Hommes Qui Passent
La Donna E' Mobile

Customer Reviews:

Pavarotti and friends.......2003-11-14

A wonderful eclectic compilation. A bold step for Luciano that works! Very easy listening.

great, but..........2003-06-16

the neville brothers don't belong here. they have fake voices that were made by marketing people. pavarotti has a voice trained over the years with tremendous preparation and hours and hours of classical training and lessons. it's like putting gary matthews jr. on a hitting show with ted williams. a big joke. but everyone else is great.

Verry fun and risky but it worked.......2002-02-07

Pop stars with Opera singers, who would of thought. But it worls well. This CD is fun and has some wonderful proformances. Sting and Pav are very good together on Pania Angelicus. Sting is also good with Zucchero on Muoio Per TE. This CD sounds wonderful and is a must have for the fans of Pav, Sting, Kaas, May, Succhero, at all.

I don't think so.......2000-12-31

This is not what I expected. I only like "La donne mobile." My mom only liked "Caruso" and "Panis Angelicus." This is not like the second on or the one for Bosnia. Those rocked.

Fantastic album...the 1st in a wonderful series.......2000-12-14

This is the first cd in the Pavarotti and Friends series which benefits charities. The wonderful thing about them, is the mix of genres. And this one is no exception. Listen to Sting sing with Pavarotti on the beautiful 'Panis Angelicus', and 'La Donna e Mobile'. Who would have thought of pairing those two together. But it works with breathtaking magic. Just look at the list of artists on this disc and the songs performed. There really is something for every taste. From operatic songs to rock. I love this series, and highly recommend them to all music lovers.

Average customer rating:

Great representation of music from a great singer
Beautiful voice, great collection
Magnificent
Kiri Te Kanawa Is Peerless
I stood up also!!

Kiri
Kiri Te Kanawa , Giacomo Puccini , Wolfgang Amadeus Mozart , George Frideric Handel , George Gershwin , Giuseppe Verdi , Paul McCartney , Erich Wolfgang Korngold , Marie-Joseph Canteloube , and Gustave Charpentier
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Kiri Te Kanawa - Ave Maria
Kiri Te Kanawa - Greatest Hits ~ 14 Favorites of Opera, Popular & Traditional Song
Kiri Te Kanawa Classics
Maori Songs
Kiri! Her Greatest Hits Live

ASIN: B00005O83O
Release Date: 2001-11-20

Tracks:

Samson: Let The Bright Seraphim - Kiri Te Kanawa/Crispian Steele-Perkins
Le Nozze Di Figaro: Dove Sono
Vesperae Solennes De Confessore, K.339: Laudate Dominum - Kiri Te Kanawa/Chor Of St Paul's Cathedral
Ave Maria
La Traviata: Attendo, Attendo... Addio Del Passato
Tosca: Vissi D'arte
Gianni Schicchi: O Mio Babbino Caro
Adriana Lecouvreur: Ecco: Respiro Appena. Lo Son L'umile Ancella
La Rondine: Chi Il Bel Sogno Di Doretta
Louise: Depuis Le Jour
Requiem: Pie Jesu
Chants D'Auvergne: Bailero
West Side Story: Tonight - Kiri Te Kanawa/Jose Carreras
Porgy And Bess: Summertime - Kiri Te Kanawa/New York Choral Artists
Oh, Kay!: Someone To Watch Over Me
Roberta: Smoke Gets In Your Eyes
Follow The Fleet: Let's Face The Music And Dance
High Society: True Love - Kiri Te Kanawa/Jim Hughes
Liverpool Oratorio: The World You're Coming Into
World In Union

Customer Reviews:

Great representation of music from a great singer.......2007-01-07

A terrific album by a great singer. This album represents the considerable territory that Kiri Te Kanawa covers in here repertoire. She moves easily from Handel to Puccini to Jerome Kern. The insertion of classic show tunes as a part of this CD is a nice little plus. Some opera stars absolutely kill popular music by overwhelming it with operatic technique (listen to Richard Tucker singing "What now my love"; this is a pleasant little tune, but it can't stand up to Tucker's voice of steel, using all the power at his command). Te Kanawa sings these songs, for the most part, nicely and does not overpower them with operatic conventions.

She does a wonderful job on Handel's "Let the bright seraphim," displaying good coloratura technique, as a matter of fact. This cut nicely illustrates the clean sound of her voice. Her version of "Dove sono" (from Mozart's Le Nozze di Figaro) is a reflective rendering of this aria. The smoothness of her vocal line is wonderful to hear. Her version of "Vissi d'arte" (from Puccini's Tosca) also illustrates the art of Dame Kiri.

The popular tunes that follow are very interesting. She and Jose Carreras, at the outset, begin to overwhelm "Tonight" (from "West Side Story," with--by the way--Leonard Bernstein himself conducting this cut), making it appear that this might be one of those dismal pieces where opera singers wreck songs. However, shortly thereafter, the song becomes more Broadway than Metropolitan Opera, and that is to the good. Better still are Te Kanawa's versions of classic songs such as "Summertime" (from Gershwin's Porgy and Bess), where singing in a higher register works nicely and where she treats the song on its own terms; just so, Jerome Kern's "Smoke gets in your eyes" is sung so well. It is a poignant version of this song.

All in all, for those who are curious about Dame Kiri Te Kanawa, this is one interesting entrée. Well worth acquiring and listening to.

Beautiful voice, great collection.......2005-11-21

I think Kiri has a beuatiful voice, she is never overtly dramatic, but the people who call her the "church soprano" should hear this album. She can sing sacred music better than many other opera stars, but she is so great as Countess in Mozart's Figaro. This is a great collection of many different pieces, from operas, sacred works, musicals, all sung with lots of feeling. Let The Bright Seraphim is the aria she sang at the wedding of Princess Diana and Prince Charles, it is such a splendid performance. My favourite piece on this album is probably Mozart's Laudate Dominum, but there are no disappointing songs here. Her voice is so warm, and she really gets involved with the text. If you are a big fan of Kiri, you should get this collection, it is such a nice selection of her greatest hits, and it is a very good introduction for new fans.

Magnificent.......2005-02-20

I admit straightout to know nothing of opera - the cd is my first of its kind. Knowledge, however, is not required to enjoy this cd, only the ability to listen and feel.

Hearing her voice used as an instrument so beautifully I cannot but fall a little in love with her whenever listening to it.

The selection of tracks is varied; I probably prefer the classical tracks, but all are well performed in my opinion.

Kiri Te Kanawa Is Peerless.......2004-07-11

She looks and sounds so beautiful. The first time I ever heard the inimitable voice of Kiri Te Kanawa was on a recording of Salaambo's aria from CITIZEN KANE for the RCA film classics series on vinyl. It was one of the most haunting and beautiful pieces of music ever composed by Bernard Herrmann. It was Kiri Te Kanawa performance of this piece that was so incredible. I had seen the film several times, but to hear a high fidelity recording of Kiri Te Kanawa on this particular piece really demonstrated not only the raw talent but also a depth of intuitive emotion that she brought to Herrmann's composition. Anyone that could interpret the inner struggle behind Herrmann's music so precisely demonstrated an uncommon ability to become one with the music. Her performance of "Ave Maria" on this CD is referent and exquisite. I love Leonard Bernstein's piece from WEST SIDE STORY that Kiri performs so vibrantly with Jose Carreras. I still can't pronounce her entire name correctly but Kiri Te Kanawa is the epitome of a well-honed talent. The selections on this CD are appreciably diverse demonstrating her phenomenal range and abilities. Kiri Te Kanawa has been and still is a gift to us all. This CD is wonderful.

I stood up also!!.......2003-07-31

Yes, Kiri at 59 is something special indeed. The great moment for me in Edinburgh was Reynaldo Hahn's à Chloris - I always thought Susan Graham owned this song, but Kiri's version from that moment on was the one I will always remember.

Tracks:

Wishing
Nightmares
Transfer Affection
What Am I Supposed To Do
Electrics
The Traveller
2:30
Over The Border
The Fall
(It's Not Me) Talking
Committed (Extended Version)
Quicksand
I Ran (Live)

Album Description

The Grammy-Award winning band's 1983 album finally makes its compact disc debut in the United States. A Billboard Top 20 album, Listen features four hit singles: "Wishing (I Had a Photograph of You)", "Nightmares", "Transfer Affection", and "(It's Not Me) Talking". Three bonus tracks have been added, including the 80s alternative radio classic, "Committed". All songs are newly digitally remastered and the booklet contains complete lyrics for the first time. Furthermore, journalist Stephen "Spaz" Schnee has compiled new liner notes based on a 2004 interview with Mike and Ali Score.

Customer Reviews:

Missing Key Tracks.......2006-08-14

The reissue of A Flock Of Seagulls brilliant second album "Listen" disappoints for a number of reasons. First, why has the album never included the beautiful 9:38 version of "Wishing" that was released as a 12 inch single in the UK? Even the US promo EP has a 6:05 version that has the same gorgeous intro as the UK 12 inch. (The US album version clocks in at 5:30, this has been the version issued ad nauseum, except for the seriously truncated 3:58 US 45 version). Second, where are "Rosenmontag" and "The Last Flight of Yuri Gagarin"? I have a former edition of the CD, released in 1992 by Beehive Trading Limited (perhaps UK?) which has these two tracks, as well as "Quicksand", but no "Committed", which I only have on the aforementioned US EP and UK 12 inch. Buy this disc for what's here; the rating is for the "business" end of things, not for the fantastic music.

Dreamy and Hypnotic; Outstanding New Wave Rock.......2005-04-18

Dreamy and Hypnotic; Outstanding New Wave Rock

All right, I'll admit, maybe this band from Liverpool, England, took themselves just a little too seriously in 1983, what with the silly hairstyles and odd fashion sense. Maybe they let the Grammy Award for Best Rock Instrumental in 1982 go to their hair-do's. And maybe my 4-Star rating might be just a bit inflated, being that I've been an undying fan of AFOS since their first record, which is still today one of my all-time favorite albums. But cast all that aside, and you'll find that this is a darn good album, difficult as that may be for the casual listener to believe. While "Listen" departs from the harder-edged sound of the debut LP, it does find its own groove within a somewhat softer and more techno-fied atmosphere. Don't get me wrong; a few songs still rock pretty good, highlighting the work by amazing lead guitarist Paul Reynolds. But for the most part, the in-your-face guitar licks of the first album are relegated to the middle-ground, or background completely, while the drums and keyboards are pushed forward (could it be that the Score brothers; singer and keyboardist Mike, and drummer Ali, wanted their handiwork to overshadow that of Reynolds and bassist Frank Maudsley? Who knows.). In general, the formula works, in the context of the album as a whole. "Wishing" is brilliant, except for the annoying "buzz" sound heard on every single drum beat of the song (too bad that wasn't eliminated for the remastered release). "Nightmares" reminds one of how it felt to be eight years old and alone in the dark. "Transfer Affection" is a lovely ballad, found also on the Flock's "Best Of" CDs. "What Am I Supposed To Do?" is a fast-tempo tune, but does evoke sadness from the listener, as the song is about a painful breakup. "Electrics", "The Traveler", "Over The Border" and "It's Not Me Talking" are all New Wave-Rock oriented, while "2:30" seems to be really not much of anything; just synth effects that open with what sounds like an earthquake. Only "The Fall" causes me to hit the skip button. It's not all that bad, just a bit too slow and a bit too monotonous, even for the `Gulls. Two of the three bonus tracks are worth the price of the disc alone. The grunge-like "Quicksand" could have been a rock-radio favorite, had the group used it as a single instead of a b-side. It still stands up as one of the Flock's very best rock songs. And the live version of "I Ran" (the b-side of "It's Not Me Talking", at least in the U.S.) manages to capture the raw energy of the original studio recording. For some reason, there are two songs from the original CD and cassette releases that are missing from this reissue; "Rosenmontag" and "The Last Flight of Yuri Gagarin." Both were weird techno-flavored instrumentals, which tells me that AFOS, along with other British synth-rock bands and artists (like Gary Numan), were musical visionaries rather than One Hit Wonders. So if you're reading this you must be thinking about buying the CD. Do it, and also what the title suggests.

IT'S ABOUT TIME!!!!!!.......2005-02-15

In the year 1983, we were introduced to (among other things)both Listen by A Flock of Seagulls AND the CD. So why it took 22 years for Listen to come out on CD (and why we were stuck with nothing but 'best hits' albums by A Flock on CD during this time)is quite beyond my comprehension. But as they say, better late than never. Now I have to agree that it would have been FAR better to include the omitted songs than get another version of I Ran (like you can't find this song in enough places already). But I guess we just have to take what we can get. And an actual CD beats scratchy old vinyl (or a CD-R made from scratchy old vinyl) ANY DAY. If you like A Flock Of Seagulls, or if you just like New Wave in general (Admit it, you do. After all, you entered A Flock Of Seagulls as a search parameter. And Deftones and Linkin Park fans don't do this!), this CD is a must-have. Give your turntable a rest and hear this album WITHOUT the pops and scratches!

Their best........2004-11-18

Oh my gosh! Am I dreaming? This can't be! Just as I was fixing to leave the record/electronics last week after being there for 2-3 hours, it suddenly occurred to me that I almost forgot to check the bin for my favorite band of all time, A Flock of Seagulls. And, lo and behold, what do I find but a CD reissue (!) of 1983's "Listen", as well as a copy of "Platinum and Gold". I couldn't help but get 'em both!

In fact, I still have their first 3 TAPES--their self-titled debut, "Listen", and "The Story of a Young Heart". I think most AFOS fans would agree that "Listen" was the best of their 4 records. (The 4th album was "Dream Come True", apparently a really bad one.) They sound more mature on it with better songwriting, whether it's the dance groove of "Over the Border", the techno-punk fun of "Electrics", the dreamy vocal of "Nightmares", or the adventurous "Traveller". Flock's sound was/is so unique that one should admit that no one has sounded like them since. A song like "Wishing", with it's clashing synth/guitar/bass chords, still sounds rather exotic 20 years onward. You just don't hear such originality nowadays.

Speaking of tapes, the outside of my original tape of "Listen" says it contains 3 extra songs, "Rosenmontag", "Quicksand", and "The Last Flight of Yuri Gagarin". However, they're not on the tape itself. I have the Jive/RCA version, maybe that's why. The other tapes say Jive/Arista. Anybody know what gives? Of the 3, "Quicksand" is featured on this reissue and is actually one of their 'heavier' moments with the deepest groove of any AFOS song.

Yes, incomplete... although blissful this was re-released!.......2004-11-14

I am in agreement about the missing tracks "Last Flight of..." and "Rosemantag". Those were two hellaciously alternative songs, given the time of its original release. I will miss them.

I have waited many years to hear this CD again. I originally had the cassette when first released, but after taking that damn cassette everywhere I went for many years, it faded with the scenery. I have looked for the CD version on ebay and every so often one can find one going for $80 out of some remote village half way around the globe. Now that it is rereleased and two very important tracks were omitted I will still wait for that day I can get the original CD on ebay for $50.

The song Committed was a treat for me since I only had a sound snippet memorized in my head from the one time I had heard the song back in 83. Thanks for the memories.

Anyway, get this CD. It, in my humble opinion, is a work of art. The songs are strong and good. THe Production is very much unique for the time, the reverb fills up your speakers and gives an unmistakeable sense of place while you 'listen'. I wish they would have graced the bottom end of the sound spectrum a bit on the remaster, but then it wouldn't true to how Mike Howlett produced it. I guess I can just use my stereo's EQ.

Average customer rating:

Another Fabulous Rorem Disc
Who knew Rorem's non-vocal music was so wonderful?
SEREBRIER RECORDS MORE ROREM PREMIERES

Rorem: Flute Concerto; Violin Concerto

Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

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Rorem: Double Concerto for Violin and Cello; After Reading Shakespeare
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Alan Hovhaness: Symphony No. 60; Guitar Concerto; Khrimian Hairig
Rorem: The End of Summer, Book of Hours, Bright Music

ASIN: B000F6YWVW
Release Date: 2006-05-16

Tracks:

Pilgrims
The Stone Tower
Leaving-Traveling-Hoping
Sirens
Hymn
False Waltz
Resume And Prayer
Twilight
Toccata-Chaconne
Romance Without Words
Midnight
Toccata-Rondo
Dawn

Amazon.com

Ned Rorem (b. 1923) holds dual citizenship: in the realm of words and the realm of music. In the first, he has produced a notoriously frank multivolume diary; in the second, numerous symphonies and chamber music works. But it is his hundreds of songs that make him famous, for this is where his two worlds meet and merge. However, this disc, celebrating his approaching 82nd birthday, presents three of his instrumental works. Spanning four decades, they vary greatly in style and content, but have in common a singing, sometimes almost spoken quality; Rorem calls this "a setting of words that aren't there." Indeed, both concertos have six movements whose descriptive titles strongly imply a narrative thread. Those of the Violin Concerto (1984) are thematically connected; they begin with "Twilight" and end with "Dawn." Soft, slow, lyrical passages alternate with busy running ones; timpani crash, woodwinds sing, the violin converses with the orchestra. The very difficult, brilliant solo part, played with easy virtuosity and a gorgeous tone by Philippe Quint, exploits every instrumental resource; the orchestration is masterful. The Flute Concerto (2002) was commissioned by the Philadelphia Orchestra for its principal flutist, Jeffrey Khaner, who plays it splendidly on this premiere recording. It features violent dynamic contrasts and imaginative orchestral sound effects; the flute adds color and rhythmic verve, acting more like a partner than a soloist. "Pilgrims" for string orchestra is slow, lyrical, warm, tonal, with lovely soaring melodies. The title refers not to America's founding fathers but to a biblical quote: "...strangers and pilgrims on the earth"; though written in 1958, it too has never been recorded. --Edith Eisler

Customer Reviews:

Another Fabulous Rorem Disc.......2006-08-16

Naxos has issued another excellent CD is what is becoming a Ned Rorem cycle. This CD opens with a short work called Pilgrims, written for string orchestra. The subject of the music has nothing to do with the founding pilgrims but was based on a Bible verse from Hebrews. The mood is one of reflection, not sad but one of recalling things that were not attained. The Flute Concerto was written in 2002 but is more of a suite than a concerto. It was written on a commission from the Philadelphia Orchestra for their principle flautist Jeffrey Khaner, who performs the piece here. The six movements bear the names: The Stone Tower, Leaving-Traveling-Hoping, Sirens, Hymn, False Waltz and Resume and Prayer. The music is a kind of Odyssey, which was considered as a possible title. The concerto begins with an energetic first movement named for the studio in New York where the music was composed, the second is quite and reflective while the third, Sirens, is mysterious with the flute calling out to caress and tempt sailors. Hymn is scored for five instruments: bassoon, piano, trumpet, viola and flute; a short interlude that gives way to the False Waltz with a comic waltz tune interlaced with boisterous music punctuated with tympani. The final part, Resume and Prayer brings back the musical ideas in the prior movements with a long cadenza for the flute, ending quietly.

The Violin Concerto was composed in 1984 and like the Flute Concerto is cast in six movements, again making it more of a suite especially since each movement is treated as a narrative being thematically linked. The movements are: Twilight, Toccata-Chaconne, Romance Without Words, Midnight, Toccata-Rondo and Dawn. The Romance Without Words title was borrowed from Mendelssohn and is a song that had its words removed. As the names indicate, the concerto is something of a journey. Dawn recalls the Twilight section; the jagged rhythms of the Toccata-Chaconne are reflected in the false waltz of the Toccata-Rondo. The soloist, Philippe Quint plays beautifully, especially in the Midnight section with he beautifully conveys the mysterious and melancholy atmosphere. Jose Serebrier conducts another wonderful program of Ned Rorem with the first two works being World Premiere records. I will be looking forward to further releases.

Who knew Rorem's non-vocal music was so wonderful?.......2006-05-20

You can guess from this review's title that it will be a rave. Until I heard Rorem's symphonies (also on Naxos) a couple of years ago, I had no idea that Ned Rorem could write so beautifully for orchestra. Well, I did know, too, because years ago there were recordings of some of his tone poems (String Symphony, Sunday Morning, Eagles -- Louis Lane, Atlanta Symphony) but that was long enough ago that it had slipped from memory. Since hearing this CD I pulled them out and reveled in their beauty, too. On this disc we have two concerti that are entirely engaging, the Flute Concerto and the Violin Concerto, and for 'filler' another tone poem, 'Pilgrims' (for string orchestra).

Pride of place goes to the alluringly beautiful Flute Concerto. Written for and played here by the principal flutist of the Philadelphia Orchestra, Jeffrey Khaner, it is a collection of six movements that have little to do with classical concerto forms; Rorem himself says it could just as properly be called a suite (and the same applies to the Violin Concerto). Taking his inspiration partly from the flute music of the impressionists, particularly Debussy, we hear music of many moods. The separate movements have more or less arbitrary titles -- implying but not really outlining some sort of narrative. Rorem has said that no matter what kind of music he is writing he always has silent song lyrics in mind -- 'words that are not there' -- and this gives his music both a narrative feel and a rhapsodic construction. For me the two movements that I connected with most are 'Leaving-Traveling-Hoping' with its pastoral calm, and 'False Waltz' with its repeated timpani figure and skittering flute. (Interestingly, there is a movement in the violin concerto that also has a repetitive timp figure as a kind of chaconne bass.) Khaner, whose name I knew but whose solo work I didn't, is a nonpareil flutist. I particularly like that he doesn't have the fruity vibrato so commonly heard from European flutists. Still, he has numerous tone colors at his disposal; not an easy thing with an overtone-poor instrument like the flute. I am eager to hear more from him.

The Violin Concerto is from 1985 and has previously been recorded by Gidon Kremer, a recording I have not heard. Rather more expressionistic that the Flute Concerto, it too is a six-movement suite rather than a classic concerto. Phillippe Quint, whose recording of William Schuman's violin concerto I quite liked, is a marvelous advocate for this virtuosic work. Still, I am less struck by this concerto than the Flute Concerto, which I feel confident will enter the repertoire.

The 'filler' is Rorem's 1959 'Pilgrims' which doesn't refer to America's founding fathers but takes its title from a passage in Hebrews (11:13) and actually was prompted by a passage quoting that verse in Julien Green's novel 'Le voyageur sur la terre' (we will remember that Rorem lived in France a number of years and is an ardent Francophile). For string orchestra and lasting about seven minutes, it is elegiac and richly harmonized with much use of divisi strings.

The performances here could hardly be bettered. Jose Serebrier, who earlier recorded the three Rorem symphonies with the Bournemouth Symphony, conducts the excellent Royal Liverpool Philharmonic in idiomatic and persuasive accounts of this music. He also contributes the helpful booklet notes.

Enthusiastically recommended, particularly for the Flute Concerto.

Scott Morrison

SEREBRIER RECORDS MORE ROREM PREMIERES.......2006-05-17

Following on the steps of his memorable recording of the Rorem three symphonies (two of them world-premiere recordings) José Serebrier gives us now the world premiere of Rorem's string
orchestra masterpiece, "PILGRIMS", a gem that should attain the notoriety of Samuel Barber's famous "Adagio for Strings", and the first recording of Rorem's new Flute Concerto, recently premiered by the Philadelphia Orchestra and Jeffrey Khaner, who is the soloist in this CD. Jeffrey Khaner is the solo first flute of the venerable Philadelphia Orchestra.

José Serebrier makes the Royal Liverpool Philharmonic sound
full and warm in the string piece, and absolutely accurate and razor-sharp in the accompaniment of the two concertos. It's hard to imagine a better performance. Obviously the Royal Liverpool Philharmonic is a first-class orchestra, but it takes a master like Serebrier to bring out all their potential. The Flute Concerto is masterfully played by Khaner, who obviously knows every nuance and every note in his heart and mind. He gives a truly spectacular, virtuoso performance. The variety of sound and colors is amazing. The work itself, a sequence of several movements in the form of a suite, is quite different in style and character from the older Violin Concerto, (which was previously recorded by Gidon Kramer and Leonard Bernstein with the New York Philharmonic).

The Violin Concerto in the Naxos CD has the advantage of the soloist, the young Russian-American Philippe Quint, who surpasses Kramer by a long shot, in articulation, musicality, even intonation. It sounds like an incredibly difficult work,
but Quint manages to make it sound easy and even simple. We heard him previously in the memorable recording of the beautiful Concerto by the American composer William Schuman, with José Serebrier conducting the Bournemouth Symphony Orchestra, (which perhaps was Quint's debut recording). The Rorem performance is even better sounding, which is remarkable, considering that the CD of the Schuman is truly exceptional. Quint sounds now more assured. Obviously he has known the Rorem Violin Concerto for a long time.

"Pilgrims" give the strings of the RLP the opportunity to shine under Serebrier's inspired direction. He manages to obtain a Stokowskian string tone and glow, the sort of sound quality that hasn't been heard on disc since Stokowski. The work and the performance are a delight.

All three works are quite different in character, while the Rorem style and spirit remain recognizable in each. The orchestrations are brilliant and the writing for the solo instruments obviouslly challenging, but extremely idiomatic. It's the kind of recording one wants to hear again and again.

This is one of the most rewarding recordings of new music I have heard in years.
R. Richardson

Average customer rating:

What an Ego...
Better than any other Pop Stars' Efforts
The second star is for effort
Ok stuff, Not bad but nothing special
McCartney Classical, take one

Paul McCartney's Liverpool Oratorio

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Working Classical: Orchestral and Chamber Music by Paul McCartney
Standing Stone
Paul McCartney: Ecce Cor Meum
Liverpool Sound Collage
Paul McCartney: Ecce Cor Meum

ASIN: B000002RSK
Release Date: 1991-10-11

Tracks:

Liverpool Oratorio: Movement I - War: Andante (Orchestra)
Liverpool Oratorio: Movement I - War: 'Non nobis solum'
Liverpool Oratorio: Movement I - War: 'The Air Raid Siren Slices Through...' (Shanty)
Liverpool Oratorio: Movement I - War: 'Oh Will It All End Here?' (Shanty)
Liverpool Oratorio: Movement I - War: 'Mother And Father Holding Their Child'
Liverpool Oratorio: Movement II - School: 'We're Here In School Today To Get A Perfect Education'
Liverpool Oratorio: Movement II - School: 'Walk In Single File Out Of The Classroom' (Headmaster)
Liverpool Oratorio: Movement II - School: 'Settle Down'
Liverpool Oratorio: Movement II - School: 'Kept In Confusion' (Shanty)
Liverpool Oratorio: Movement II - School: 'I'll Always Be Here' (Mary Dee)
Liverpool Oratorio: Movement II - School: 'Boys, This Is Your Teacher' (Headmaster, Miss Inkley))
Liverpool Oratorio: Movement II - School: 'Tres conejos' (Miss Inkley, Headmaster, Shanty)
Liverpool Oratorio: Movement II - School: 'Not For Ourselves' (Headmaster, Miss Inkley, Shanty)
Liverpool Oratorio: Movement III - Crypt: 'And So It Was That I Had Grown' (Shanty)
Liverpool Oratorio: Movement III - Crypt: Dance
Liverpool Oratorio: Movement III - Crypt: 'I Used To Come Here When This Place Was A Crypt' (Shanty, Preacher)
Liverpool Oratorio: Movement III - Crypt: 'Here Now' (Shanty)
Liverpool Oratorio: Movement III - Crypt: 'I'll Always Be Here' (Mary Dee, Shanty)
Liverpool Oratorio: Movement III - Crypt: 'Now's The Time To Tell Him' (Mary Dee, Shanty)
Liverpool Oratorio: Movement IV - Father: Andante Lamentoso
Liverpool Oratorio: Movement IV - Father: 'O Father, You Have Given...' (Chief Mourner)
Liverpool Oratorio: Movement IV - Father: '(Ah)'
Liverpool Oratorio: Movement IV - Father: 'Hey, Wait A Minute' (Shanty)
Liverpool Oratorio: Movement IV - Father: 'Father, Father, Father' (Shanty, Chief Mourner)

Tracks:

Liverpool Oratorio: Movement V: Wedding: Andante Amoroso - 'I Know I Should Be Glad Of This' (Shanty, Mary Dee)
Liverpool Oratorio: Movement V: Wedding: 'Father, Hear Our Humble Voices' (Preacher)
Liverpool Oratorio: Movement V: Wedding: 'Hosanna, Hosanna' (Mary Dee, Shanty)
Liverpool Oratorio: Movement VI: Work: Allegro Energico
Liverpool Oratorio: Movement VI: Work: 'Working Women At The Top' (Mary Dee)
Liverpool Oratorio: Movement VI: Work: Violin Solo
Liverpool Oratorio: Movement VI: Work: 'Did I Sign The Letter...' (Mary Dee)
Liverpool Oratorio: Movement VI: Work: Tempo I
Liverpool Oratorio: Movement VI: Work: 'When You Ask A Working Man' (Shanty, Mr. Dingle)
Liverpool Oratorio: Movement VI: Work: 'Let's Find Ourselves A Little Hostelry' (Mr. Dingle)
Liverpool Oratorio: Movement VII: Crises: Allegro Molto
Liverpool Oratorio: Movement VII: Crises: 'The World You're Coming Into' (Mary Dee)
Liverpool Oratorio: Movement VII: Crises: Tempo I
Liverpool Oratorio: Movement VII: Crises: 'Where's My Dinner?' (Shanty, Mary Dee)
Liverpool Oratorio: Movement VII: Crises: 'Let's Not Argue' (Shanty, Mary Dee)
Liverpool Oratorio: Movement VII: Crises: 'I'm Not A Slave' (Mary Dee, Shanty)
Liverpool Oratorio: Movement VII: Crises: 'Right! That's It!' (Mary Dee)
Liverpool Oratorio: Movement VII: Crises: 'Stop. Wait.'
Liverpool Oratorio: Movement VII: Crises: 'Do You Know Who You Are...' (Nurse)
Liverpool Oratorio: Movement VII: Crises: 'Ghosts Of The Past Left Behind' (Nurse, Shanty, Mary Dee)
Liverpool Oratorio: Movement VII: Crises: 'Do We Live In A World...' (Mary Dee, Nurse, Shanty)
Liverpool Oratorio: Movement VIII: Peace: 'And So It Was That You Were Born' (Shanty)
Liverpool Oratorio: Movement VIII: Peace: 'God Is Good'
Liverpool Oratorio: Movement VIII: Peace: 'What People Want Is A Family Life' (Preacher)
Liverpool Oratorio: Movement VIII: Peace: 'Dad's In The Garden' (Nurse, Mary Dee, Preacher, Shanty)
Liverpool Oratorio: Movement VIII: Peace: 'So On And On The Story Goes' (Shanty, Mary Dee)

Customer Reviews:

What an Ego..........2006-08-01

There was a time when oratorios were about religioss figures -- usually Bible stories like Handel's Messiah and Esther -- or classical Greek mythologies...usually lofty themes. Not this. This is about a working class Liverpool kid who becomes a demi-god -- or so he thinks. What great heroic values does this demigod and his oratorio espouse? None -- this is a typical "me, me me" Paul McCartney ego trip -- what serious composer would write an oratorio to himself? Was Te Kanawa really that hard up for money that she would record this mess? Skip this please. Even "Ram" is better.

Better than any other Pop Stars' Efforts.......2005-08-08

I'll admit that I dislike opera, and the only reason I was exposed to this work was because it was McCartney (and also, I suppose, because I love classical music). There are certain elements that are common to all good music, no matter what genre;one such is melody. McCartney has built a career on intoxicating tunes, and he doesn't stop here. I've listened to classical music for a long time, and these are some of the best melodies I've ever heard. McCartney doesn't seem too worried with "Oh, this is Classical, and my my, I mustn't disturb the English caste system of 'how things are supposed to be'". He basically just does what he does best, only he puts it into a classical context. I'm somewhat surprised he pulled it off so well for a first-timer, but then again, McCartney's works from very early on suggest an uncommon ability to write well in a multitude of styles. More so than John Lennon, he seems to be able to step outside himself and indulge in whatever role is needed to write a great song. If Lennon and McCartney had been actors and not Beatles, Lennon would have been a Sean Penn or Alan Alda or Gary Cooper-type, playing basically an extension of himself, but playing it passionately, and playing it very well. McCartney would've been more like Dustin Hoffman or Meryl Streep, with a broad range, amazingly different in every role.
McCartney's sophomore effort, "Standing Stone," was one I found very uninteresting. The next one, "Working Classical," is outstanding.
That stated, I find the first CD (the Oratorio is 2 discs) to be five-star, and the second to drag somewhat, about a 3 1/2. So let's call it a four or 4 1/2.

The second star is for effort.......2005-06-11

This man's been playing Silly Love Songs ever since the contrast between that and the late John Lennon's pre-punk ethos formed the nucleus of the Beatles. But you have to remember that the main reason this freshman effort at symphonic music reached the mass market at all was because McCartney had made his mark many years ago. Already being famous helps, believe me. The arrangements are courtesy of Sir Paul laying out the basic threads using MIDI computer sequencing, at which point an arranger steps in and transcribes the result into real orchestral parts. And the libretto here are more than just a tad weak. One scene deals with a quarrel between Our Hero and his newly-pregnant wife. He makes that one statement in such situations that one regrets as soon as he says it, and gets this response;

Wife: "Right!"
(dramatic rchestral hit)
Wife: "I'm off!"
(repeat of same chord)
Wife: (spoken) "And by the way, you're going to be a father."

And she promptly storms out into the street and gets hit by a car. Oh buh-rother! Unless I miss my guess, operatic work is not McCartney's long suit. Aparently that occurred to him as well, because his followup work is "The Standing Stones", a much stronger work that is instrumental. If you're a follower of Paul as "the cute one" of the Beatles, both of these works will be but pieces in a collection. If you're curious about Sir Paul's musical visions, you're better off with the later work.

Ok stuff, Not bad but nothing special.......2003-12-05

This is ok stuff. Very soothing and easy going stuff, may be an initiation for those new to choral works. The music is too simple, you can make out it's by Paul. The complete school section is good. Basically it has some 5 sections, each depicting a period of pauls life. It feels more like paul wrote a few pop ballads and then he extended it for an oratoria. Not bad, but you dont need to include it in you collection, unless you want very much to see what Paul sounds like in the classical vein

McCartney Classical, take one.......2003-11-10

Best to look at this now in hindsight. This is where McCartney began his Classical Music career - one can point to The Family Way soundtrack, the Eleanor's Dream score based on Eleanor Rigby's string accompaniment which is on Give My Regards To Broad Street, but this is where it begins in earnest. If you've heard the more realized works that followed (Standing Stone, the pieces on Working Classical or the work on Garlands for Linda), you will better appreciate this full length concert work in its proper context. It is not pop music. And it is not fully realized classical either, but it has its moments which are brilliant. Lyrically, it is comical at times and you have to wonder (aside from the Spanish Lesson) how much Sir Paul might have found "funny" at the time, especially hearing august operatic voices singing them. Melodically, phrases will stay with you long after the recording is over. There is some beautiful music here if you will give it a chance. If you are only interested in giving McCartney's classical writing an ear, try starting with Standing Stone or Working Classical (which includes quartet arrangements of many familiar songs).

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Red Shoes/Horoscope Original Soundtrack

Manufacturer: El
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Similar Items:

Lili
The Red Shoes - Criterion Collection

ASIN: B000CSTJZC
Release Date: 2006-01-30

Tracks:

Red Shoes/The Red Shoes: Prelude
Red Shoes/The Red Shoes: Ballet Music
Horoscope/Dance for the Followers of Leo
Horoscope/Sarabande for the Followers of Virgo
Horoscope/Valse for the Gemini
Horoscope/Bacchanale
Horoscope/Invoation to the Moon and Finale

Album Description

Michael Powell and Emeric Pressburger's "The Red Shoes" of 1948 is simply one of the most extraordinary and important British films in cinema history. An exuberant, lavish, daring, technicolor epic that has influenced generations of filmmakers, artists, and aspiring ballerinas. Although made in the late forties, "The Red Shoes" is decades ahead of it¹s time. It is shown regularly on television and is regarded as the definitive film about the world of dance. Brian Easdale, who won an Oscar for his score, developed his sensuous, esoteric style whilst studying Indian music in Calcutta and was described by Powell as "the ideal collaborator". For Powell went on to create soundtracks for "The Small Back Room", "The Elusive Pimpernel", "Gone To Earth", "The Battle Of The River Plate", "Peeping Tom" and "Queens Guards".

Album Details

Michael Powell and Emeric Pressburger's Film "The Red Shoes" from 1948 is Simply One of the Most Extraordinary and Important British Films in Cinema History. In the Best, Most Natural Way, the Film is an Essay in Camp that Has Influenced Generations of Filmmakers, Artists, Musicians,designers and Aspiring Ballerinas. Francis Ford Coppola and Martin Scorcese Both Cite it as a Major Influence. Brian Easdale Won an Oscar for this Score and Kate Bush Composed a Complete Homage to the Film on her Album of the Same Name. As a Bonus to this Fine Package, it is Coupled with the Soundtrack to "Horoscope" by Constant Lambert, Considered One of the Finest Ballets of the 20th Century.

William Alwyn: Symphonies Nos. 2 & 5; Lyra Angelica (Harp Concerto)

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Heavenly Music
Great recording, wonderful music
Absolutely beautiful music
wonderful introduction to Naxos' Alwyn cycle

William Alwyn: Symphonies Nos. 2 & 5; Lyra Angelica (Harp Concerto)

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

William Alwyn: Piano Concertos Nos. 1 & 2
Alwyn: Symphonies Nos. 1 and 3
William Alwyn: Symphony No. 4; Sinfonietta
William Schuman: Symphonies Nos. 7 and 10
Kurt Weill: Symphonies Nos. 1 & 2; Lady in the Dark - Symphonic Nocturne

ASIN: B000A17GGK
Release Date: 2005-08-16

Tracks:

Moderato - Allegro non troppo - Andante sostenuto - Allegro Con Fuoco - Tempo Di Marcia Funebre
Adagio
Adagio, Ma Non Troppo
Moderato
Allegro Giubilso - Andante Con Moto
Con Moto - Molto Moderato - Quasi Adagio Molto Calmato
Allegro Molto - Moderato Largamente - Molto Tranquillo

Customer Reviews:

Heavenly Music.......2007-05-10

I highly recommend these Alwyn selections..they are lyrical and calming, an oasis of peaceful melody. Highly recommended for fans of Hohvanness, Delius, or Vaughn Williams.

Great recording, wonderful music.......2007-04-30

This Spring I have decided to pay closer attention to the music of
William Alwyn and was I in for a surprise. For many years I listen to
the music of William Alwyn on the radio, but never really owned a Cd
of his music. Early this Spring I decided to collect all of his five
symphonies on the Naxos label, and his music is great. Unlike many of
his compatriots, Mr. Alwyn in many ways a "late romantic" composer, in
the same way that Samuel Barber was in the U.S., in his own personal style. "Lyra Angelica" is a harp concerto full of peaceful and tranquil melodies, harpist Suzanne Willison is well ready for the task. The symphony #5 "Hydriotaphia" composed in the early '70s and is his last symphony. The fifth symphony is loud and exuberant in sound, close to the spirit of Walton. On the other hand the second is a more quiet and peaceful work. The Royal Liverpool Philharmonic does the honor in this
recording under the baton of David Lloyd-Jones. Indeed a Wonderful recording of great music

Absolutely beautiful music.......2007-02-21

This CD has two very nice symphonies, and then the harp concerto. Both symphonies are elegant, nice to listen to, interesting, fun... In other words, everything a symphony ought to be. They're very enjoyable to listen to.

Then again, the gem of this CD is the "Lyra Angelica", the harp concerto. I don't know how many harp concertos most people have heard, but this is simply breathtaking. It's so incredibly beautiful, but it's also plain nice. While I was worried that this would be TOO pretty and then not substantial enough, I turned out to be very wrong. It's beautiful, YES, but it's also amazing and wonderful to listen to. It's not only a sweet little harp plucking so that you fall asleep. It's just like any other concerto, but instead of a violin or piano, you've got one of the loveliest instruments in the world: the harp.

I definitely recommend this. I'd never heard much of Alwyn's work before this, but now I'm interested. The two symphonies are great listens, even if they're far behind the beautiful harp concerto.

Buy this disc! At this price, for this music, it's a wonderful deal!

wonderful introduction to Naxos' Alwyn cycle.......2005-11-03

I hope that William Alwyn will become a better known because of the Naxos series of symphonies. The Lyra Agelica is an outright masterpiece, ispired by the seventeenth century meatphysical poets. Their rhapsodic style is mirrored in what is a concerto for harp and string orchestra with a wonderful performance by Suzanne Willson on harp. The fifth symphony subtitled Hydrotapia or Urn burial is dedicated do Thomas Browne who wrote an essay by that name.. The symphony was written many decades after his four symphony cycle. It is a short symphony in one movement that is a a meditation upon death.
The second symphony was Alwyn's favorite according to the liner notes which provide a great introduction to Alwyn and his music,
I had purchased hickox's complete Alwyn before I realized that Naxos was plannin to release their series. I have come to learn over the years that Naxos assembles a fine orchestra and in the Royal Liverpool phil. conducted by lloyd Joness they have equalled and exceeded those of Hickox. I find the Lrra even better.
Please excuse typos I have a neurologic disease.

Average customer rating:

Tall Ships Suite
Where Oh Where?
The item as described doesn't exist
Most beautiful music I have ever heard

The Tall Ships Suite

Manufacturer: Conifer
ProductGroup: Music
Binding: Audio CD

Customer Reviews:

Tall Ships Suite.......2007-01-05

This has been off the market for a number of years except for its occasional play on classical music stations. But Arkiv music is now distributing the album under license from Sony BMG Masterworks and it is superb. This is the original 1992 recording by Conifer Records, and still without notes. There are five tracks. The Suite itself has three of them: (1) The Race Begins, (2) The Open Sea, and (3) Landfall and The Grand Parade of Sail. Then there are two additional tracks with pieces by the composers Dave Roylance and Bob Galvin: Ocean Fantasia and Voyager. They are as good or better than the Suite itself, and that's a feat. Total playing time is 54:38. As the other reviews suggest, this is Romantic music at its best, conveying the imagery and feel of the Tall Ships under sail. If you saw them entering New York Harbor, you have some inkling their magnificence. Listening to this suite takes you there. It offers the same kind of inspiration you might get from Beethoven's Eroica, Dvorak's New World Symphony, Holst's Planets, or any number of other musical epic saga's. It's an extraordinary piece of music without cliches. The Royal Liverpool Philharmonic Orchestra does a marvelous job, but because it was written as background music, you may find yourself cranking up the volume to match the vast expanse of its imagery. Don't hesitate. Get your copy before it disappears again.

Where Oh Where?.......2006-02-22

Majastic,soaring music....I too have heard segments over the Radio(Phx Az) for the past 5/6 years......scoured the Internet all the way to Europe....... no luck. Where can I find This??? any help would be greatly appreciated. Tnx

The item as described doesn't exist.......2006-01-22

I, too, heard the same broadcast. After a year of constant searching I finally got it. The tracks as listed here are terribly incorrect. As listed, the 5th track "Grand Parade of Sail" is actually the last movement of The Suite. "Ocean Fantasia" is not part of the The Suite. Since they're out of order, I'm pretty sure this listing is wrong. The CD I have was released in '92- MAYBE they changed the tracks for a '94 release. Considering how hard this CD is to get, I don't think so.

Most beautiful music I have ever heard.......2004-07-03

I was driving to work one day when I heard this album being played on 89.5 FM KBAQ, the local radio station in Phoenix, AZ. This was the most incredible piece of classical music I have ever heard. I had tuned in to the station in the middle of the first song, "Tall Ships Suite", and straight away I thought of large sailing ships on the open ocean; without even hearing the track title. Very, very few pieces of classical music can invoke a specific type of imagery in your mind, but this one did. Beethoven's Pastoral symphony is another good example of such a type of music.

How does this music sound like? Grand, dramatic, powerful, sweeping; along the lines of other great symphonies like Dvorak's 9th or Tchaikovsky's 5th. I also believe this is the best piece of music by an English composer(s).

Tracks:

Concerto for Cello and Orchestra - Movement I
Concerto for Cello and Orchestra - Movement II
Concerto for Cello and Orchestra - Movement III
Concerto Fantasy for Two Timpanists and Orchestra - Movement I
Concerto Fantasy for Two Timpanists and Orchestra - Movement II
Concerto Fantasy for Two Timpanists and Orchestra - Cadenza
Concerto Fantasy for Two Timpanists and Orchestra - Movement III

Product Description

CONCERTO PROJECT 1 This is the first of a series of four CDs that Philip Glass and Orange Mountain Music have planned entitled The Concerto Project, No. I-IV Each disc contains two concerti. Omm0014 features Julian Lloyd Webber with the Royal Liverpool Philharmonic Orchestra conducted by Gerard Schwarz performining Concerto for Cello and Orchestra and Evelyn Glennie and Jonathan Haas performing Concerto Fantasy for Two Timpanists and Orchestra also with Gerard Schwarz conducting the Royal Liverpool Philharmonic Orchestra. World-class soloists, excellent orchestra, excellent conducting and the beautiful sounding Philharmonic Hall in Liverpool, together with major compositions from the worlds preeminent composer, Philip Glass.

Album Details

Recorded in January 2004 at the Orchestra's Acoustically Magnificent Home of the Philharmonic Hall in Liverpool, this Superb Release Marks Another Landmark in the Development of Philip Glass' Orange Mountain Music Label. The First Release in the Four Volume Concerto Project Brings Together a Top English Orchestra with Two of the Country's Best Known Classical Instrumentalists, Together with the Paganini of Thetimpani, Jonathan Haas. With an Exclusive Booklet, this Release Signals an Elevation in the Profile of this Already Important Label.

Customer Reviews:

Timpanists excel.......2007-03-09

The concerto for two tympanists and orchestra was worth the price of the disc.

Two fantastic concertos.......2006-08-09

Unlike certain individuals within the more "sophisticated" crowd, I am not afraid to admit that I like the minimalist music of Philip Glass (b. 1937). Glass' style is very distinct, making use of recurring arpeggios, recurring syncopated patterns and recurring melodic ideas. I used to the word "recurring" three times in the previous sentence to emphasize that repetition is an important element of Glass' music. This would spell trouble for most composers, but Glass pulls this off by continually driving the music forward to achieve greater intensity and incorporating fascinating harmonic shifts that give his music an almost hypnotic quality.

Some have faulted Glass for continuing his reliance on the techniques mentioned above (for decades!). So first off, anyone looking for a radical new direction in Glass' music will be disappointed with this release. While others, such as myself, who enjoy Glass' unique style, will surely love this CD. Rest assured, arpeggios abound, and syncopated motifs propel the music forward.

Of the two concertos, the Concerto Fantasy for Two Timpanists (premiered in 2000) is probably the one that will compel people to purchase this album. A concerto for a percussion instrument is a bit of an oddity. And this concerto, scored for nine timpani played by two timpanists, is pretty much what you would expect. It is intense, it is propulsive and it is aggressive. Glass doesn't seem too keen on exploring the subtleties of the timpani here. The music begins at a good clip with pounding timpani at forte, banging out the movement's theme in 5/4 time. Although, the themes employed by Glass vary in their intensity, the timpani part itself continues its aggressive, perhaps primitive, pounding until the conclusion of the movement. Now how do you compose a slow movement for nine timpani? Not an easy feat, but Glass pulls it off the (for the most part) by composing a processional that gradually builds in intensity to a climax, which then fades away. The finale of the concerto is similar to the opening movement. Lots of aggressive, percussive playing is to be found here. The syncopated opening theme of this movement, to me, has a decidedly Nordic feel to it. In short, this concerto is fantastic and will not disappoint percussion enthusiasts or admirers of Glass' style, just as long as they don't expect this piece to be something it is not. It's a timpani concerto.

Although this CD will be purchased for the timpani concerto, I think after a couple of listenings, the more reflective cello concerto (premiered in 2001) will prove equally interesting; and possibly more so. The mood of the first two movements is somber, with the rhythmic intensity of the timpani concerto nowhere to be found. However, the music is no less fascinating, with Glass' distinctive harmonic modulations and characteristic orchestration. The themes themselves are weightier and more substantial than the ones from Glass' earlier days, but repetition is still an important element to this concerto. The slow movement is especially lovely. This movement does last 14 minutes, for some reason, but is none the worse for it, as the cello's expressive recurring theme never gets stale. Things heat up a bit more in the finale, with the previously released violin concerto coming to mind. Julian Lloyd Weber, does well navigating through the sixteenth-note-laden solo part, while the percussion section, especially the castanet player, propels the music forward with repetitive rhythmic ideas. My only quibble with this piece is the ending, which is very abrupt, as if Glass was unplugged or blew a fuse in the midst of his syncopating. However, Glass' tendency to conclude with sudden, harmonically bizarre, codas is one of his "trademarks." Like a car going down a hill with no brakes, Glass' music has no problem sustaining its forward momentum; however its halt isn't pretty.

Despite this, this disc has my full recommendation. The reflective cello concerto contrasts nicely against the assertive timpani concerto. This is fascinating music that will appeal to all (except those who take themselves too seriously) and deserves a place in the library of any acquirer of recent classical music.

55:12

This is my story why I bought and fell in love with this album........2005-12-26

I still remember the incredible sensation I felt one night listening to Philip Glass' "Concerto Fantasy for Two Timpanists and Orchestra" for the first time on my car radio.

It happend about a year ago. After dining at Hooters in Santa Monica with some of my drumline friends, I hopped back into my car, turned on the engine, and all the sudden, the sound of timpani filled the car! I mean LOTS and LOTS of it! Listening to the orchestral accompaniment, I knew it was a concerto piece... a very modern concerto piece. The music was simply mesmerizing, with the orchestra playing rather refreshingly consonant chords, while the drums were struck all over the place, at times arpeggiating, and at times singing the melody. It either had to be a soloist playing so many drums, or even two playing them.

I simply had to know what this strange new piece was, so I listened throughout my whole drive on the dark highways and freeways back home. Lasting pretty long, I knew I must have listened from the first movement. As the music progressed, there was a slower movement, the followed by a huge cadenza featuring the timpani, before another fast movement. By the time I reached home, the music came to an exhilirating close, and listened like an eager student... "Concerto Fantasy for Two Timpanists and Orchestra by Philip Glass ("Philip Glass? Really?", the soloists being Jonathan Haas and Evelyn Glennie ("Evelyn Glennie? I know her!"), with the Royal Liverpool Philharmonic under Gerald Schwartz."

I never hesistated by buy the album featuring this work. It only took days for me to find the right album with the right performers (well, this IS the only performance so far, being a premiere recording).

As a percussionist (with timpani being my favorite instrument), I bought this album just for the Timpani piece... obviously. Based on the booklet, the soloists Jonathan Haas (dubbed the "Paganini of Timpani") and Evelyn Glennie (probably THE best percussionist in the world), played on seven drums each, so that's FOURTEEN total! The work did prove a challenge to the performers, but the recording came out very well.

If you love timpani, then you'll absolutely love this work. Guaranteed! I truly cherish the work, and I am hoping to play it in the future to show my obsession with my favorite percussion instrument.

Great!.......2005-07-01

Excellent service, as always. They seem to have all the stuff you can't find anywhere else.

A must for all percussionists and music lovers.......2004-11-13

In listening to the first movement of the Concerto Fantasy for Two Timpanists, I was completely drawn into the play of these two brilliant percussionists, Evelyn Glennie and Jonathan Haas. The very sound of fourteen timpani in concert together with the Royal Liverpool Philharmonic Orchestra is just amazing and from the start makes you sit up and take notice. The play between the strings and timpani is fantastic in the first movement. In this work the listener will get a true appreciation for the beautiful and powerful tone of the timpani. This is especially true in listening to the Cadenza where Glennie and Haas coax and reveal a variety of different tones and colors from their timpani, the voice of the timpani is revealed here. Movement III is the marvelous reward and bright payoff off of the piece, with the timpanists playing in harmony with the full orchestra once again. Featuring the timpani as a solo instrument in this context is fresh and very different. I hope to have the opportunity to see and feel a performance of this concerto in the future, especially if performed by Glennie and Haas.

Alwyn: Elizabethan Dances; Oboe Concerto

Average customer rating:

'All in Order Sweet and Lovely'

Alwyn: Elizabethan Dances; Oboe Concerto

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Douglas Lilburn: A Song of Islands; Aotearoa Overture; Forest
William Alwyn: Piano Concertos Nos. 1 & 2
Alan Hovhaness: Symphony No. 60; Guitar Concerto; Khrimian Hairig
Howard Hanson: Organ Concerto; Fantasy Variations; Nymphs and Satyr; Summer Seascape; Pastorale; Serenade
Alfvén: Symphony No. 5; Andante religioso

ASIN: B000JVSVEM
Release Date: 2006-12-12

Tracks:

Moderato E Ritmico
Waltz Tempo-Languidamente
Allegro Scherzando (Ma Non Troppo Allegro)
Moderato
Poco Allegretto E Semplice
Allegro Giocoso
The Inumerable Dance- An English Overture
Andante E Rubato
Vivace
Aphrodite In Aulis- An Eclogue For Small Orchestra After George Moore
Symphonic Prelude 'The Magic Island'
Festival March

Customer Reviews:

'All in Order Sweet and Lovely' .......2007-01-16

I still remember my surprise and pleasure the first time I heard any of the concert music of William Alwyn: Symphonies Nos. 1 & 4 with Alwyn conducting the London Philharmonic on a Lyrita LP. Up to that time I'd known him only as a film composer ('The Rocking Horse Winner', 'Odd Man Out' among many others). The music was notable for its inventive orchestrations, its creative use of rhythm, its skillful mix of impressionist and modal harmonies, and its unfailingly beautiful melodies. It is, therefore, with great pleasure that I encountered this new release by David Lloyd-Jones conducting the Royal Liverpool Philharmonic, at least partly because there are a couple of important first recordings -- The Innumerable Dance, and Aphrodite in Aulis -- contained in the varied program.

The CD starts with Alwyn's 1956-57 'Elizabethan Dances', a six-part suite that alternates movements recalling the eras of Elizabeth I and Elizabeth II, a clever idea that but one that can be a little jarring as we go from music featuring tabors and pipes to music with bluesy harmonies. I can't hear the first movement without initially thinking of stereotypical American Indian music with the square drum rhythms coupled with open fifths, although within a few seconds we are thrown back into the ceremonial music of the Virgin Queen's court. One is amused by the final movement which alternates between a rumba and a hornpipe! This, if nothing else, typifies Alwyn's sense of humor, never hidden for long.

'The Innumerable Dance - An English Overture' takes its title from a passage in Blake's 'Milton': "And flower and herb soon fill the air with an innumerable dance / Yet all in order sweet and lovely." A ten-minute-long tone poem written in 1933, it is an evocation of an English spring, opening with hushed divisi tremolando strings followed by muted horns. Further tonal weight is gradually added until we reach a scintillating sunrise and a spirited dance. This is gorgeous (and gorgeously played) pastoral English music reminiscent of Delius. The present recording is possibly its first performance in almost seventy years and we are the richer for it.

'Concerto for Oboe, Harp and String' (1943-44) features Jonathan Small, oboe, and Eleanor Hudson, harp. It was given its premiere by Evelyn Rothwell, wife of John Barbirolli who was a staunch advocate of Alwyn's concert music. In two movements played without pause, this 18-minute work moves from a nostalgic and impressionistic opening to a virtuosic and spry modal dance before closing with return of the initial material. Although the work is played well here, it is for me a marginally less appealing performance than that on a Chandos recording with oboist Nicholas Daniel and the City of London Sinfonietta under Richard Hickox.

'Aphrodite in Aulis - An Eclogue for Small Orchestra, after George Moore' (1932) is an ethereally evocative miniature for flute, two horns, harp and strings. Like 'The Innumerable Dance', it has not been heard for seventy years. I could easily imagine it working its way into the margins of the mainstream repertoire, particularly if given such an exquisite performance as heard here. I must say that this is the piece that I returned to most on this disc. Absolutely delicious!

Very nearly as lovely, though, and twice as long, is 'The Magic Island' (1952), a so-called 'Symphonic Prelude', inspired by lines from 'The Tempest': "... the isle is full of noises / Sounds and sweet airs, that give delight and hurt not." From an atmospheric, quiet beginning it swells to a climax beginning at 3:50: "a thousand twangling instruments / will hum about mine ears ..." Of the works presented here, 'The Magic Island' presents Alwyn most convincingly as the master orchestrator that he was. It was, incidentally, commissioned by Barbirolli.

And, finally, we get a good old-fashioned Elgarian 'pomp and circumstance' style march, the 'Festival March' written for the 1951 Festival of Britain. Full of 'nobilmente' and 'grandioso' atmosphere, it deserves to stand with similar contemporaneous works by Walton as well as those by Elgar. A marvelous end to a marvelous program of works, not a one of them weak or derivative, by a composer whose stature can only grow, William Alwyn.

Enthusiastically recommended.

Scott Morrison

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