| 1. Press Your Body |
| 2. Drain |
| 3. Long Way Down |
| 4. Distant Trip |
| 5. Blood Red |
| 6. That's How I Like It (Illusions) |
| 7. Buck! |
| 8. Lojack, Pt. 4 |
| 9. Saavy |
| 10. H.D.E.K. |
| 11. We Still Expect Freedom |
| 12. Dancing Box |
Editorial Reviews
Product Description
The debut longplayer for JAMES COTTON (aka DABRYE, SK-1, & his real name TADD MULLINIX). Dancing Box pays tribute to classic Chicago acid and leftfield Detroit techno, all the while flowing like an album which can exist outside of the dancefloor. A stunning effort, and meticulously packaged.
A few years later, in the middle 50's, I bought Kapell's recording of the same work, with Fritz Reiner and the Robin Hood Dell Orchestra (alias of The Philadelphia Orchestra). I still have that LP, though I wore it out long ago. It was the beginning of my musical education. But since 1998, we have had this wonderful box of reissues from the vaults of RCA. The sound is mostly excellent, considering the age of the monophonic originals. To this day, Kapell's Rachmaninov Rhapsody remains-in my opinion-the most impassioned, yet the most musical, reading of the piece ever recorded. No one had, or has, Kapell's combination of white-hot temperament, technical brilliance, and musical insight. We have had musical geniuses; technical wizards abound. It is the combination of these gifts, as Kapell possessed them in particular, married to his incendiary passion, that made him unique.
He was still learning, and he was learning at such an astounding rate! He had moved from Khachaturian to the most unforgettable Chopin B minor Sonata ever recorded in little more than a decade. His deep throated, noble, and articulate Bach has caused some to speculate that Glenn Gould might have found his inspiration in Kapell. One Gould biographer, and a New York critic, wrote that the reverse was true. The critic acknowledged the error, in print, noting that Kapell could not have been influenced by Gould's style since he had been dead for two years by the time of Gould's debut recital in New York City in 1955.
The lyrical side of romantic music is not what Kapell was or is known for, not his "style" as people remember him now. But listening to the lyrical music in this set shows a side of him that was, nevertheless, as real as any, and perhaps more revealing. It also gives us a notion of what we might have expected of William Kapell had he lived a normal span of years and played a normal variety of music. In a live performance, he plays Chopin's Nocturne, Op. 9, No. 1, with melting legato and exquisite timing: his innate sense about when to tug on the beat and when to surge forward makes the music breathe. His use of dynamic variety demands the greatest respect: at one point, the repetition of a melodic phrase is but a pale echo of its first statement. His tonal palette is no less wondrous. When a deep bass note suddenly appears, early in the A section of the ABA structure, it sounds-not loud nor quiet, not muffled nor distinct-but awesomely subterranean. Kapell begins the piece without much sustaining pedal, but in the B section, he subtly adds more and more. Then, when the A section returns near the end, the pedal disappears. This dramatic change in color-along with Chopin's change of key-seems like the parting of clouds. We are in the hands of two masters here, Chopin and Kapell. Kapell gave this performance in Carnegie Hall in February of 1945, when he was twenty-two years old.
In the Bach and Chopin works I've discussed, the steely, percussive tone that some speak of is nowhere to be heard. Rather, we hear a full, rich, and complex piano tone. In the Chopin Sonatas, the Debussy pieces, and the Schubert, Schumann, Mendelssohn, Debussy, and Albeniz, the sound Kapell produces is beautiful and varied.
He was a chamber musician of the first order, as his collaborations with Heifetz prove. (He was one of the very few musicians who had the force of personality to make Heifetz accompany HIM. And you can hear it.) And if you've never heard Rachmaninov's great Cello Sonata, played here with the grand Russian/German cellist Edmund Kurtz, you're in for a treat. There are several fine, modern stereo recordings, but this one is special. The piano part is very important-Rachmaninov did write it, after all-and Kapell is magnificent. This was Rachmaninov's next published work after the 2nd Piano Concerto, to give you an idea of its melodic grandeur. If there is a flaw here, it is that the piano is recorded too far back, relative to the cello.
Kapell died on October 30, 1953. He had just turned thirty-three. He played his last recital in Geelong, Australia, on the 22nd. It included the Chopin 2nd Piano Sonata which contains the well-known "Marche funèbre." That performance is included here, transferred from the original acetates. It is a great performance but very hard to listen to now, in light of what was to follow just over a week later. I am writing this one day short of the 52nd anniversary of Kapell's death. Had he lived until today, he would be younger than either Earl Wild or Ivan Moravec, both of whom are still making magnificent music. For those of us who love William Kapell's music, it is heartbreaking to consider, and fruitless. Thank Heaven we have recordings like the ones in this set. They are essential for any lover of good music.
John Pendley
William Kapell is still considered by most as the America's greatest pianist, even fifty odd years after his death at the age of 31 in a plane crash. Those who heard him perform still rhapsodize over the magic he created. Those of us who are left with only recordings, such as this spectacular boxed set of all of his recordings, can only be uplifted by the man's genius, his extraordinary technical facility, and his intuitive, profound approach to the great works of music.
All styles of music were easily accessible to Kapell. Listen to the Mozart, Bach, Scarlatti, Paganini and Mendelssohn and try to imagine performances of more clarity and finesse than these. His Chopin is well represented in this set and glows with the uncanny power and tenderness that Chopin combined in his works. His works for solo piano by Rachmaninov and Shostakovich are the gold standard, and yet his Schubert, Schumann, Brahms, Mussorgsky and Liszt raise the bar for excellence that has since not been excelled. Joyously this set includes concerti including Prokofiev, Beethoven, Khachaturian, and Rachmaninov with the various conductors who saw Kapell's gifts and championed them.
The memory of this great artist is felt throughout the year, but never as acutely as on October 29th which marks the date of his cruel death. The world was brightened for too short a time by William Kapell, yet because of his recorded legacy his legend lives on. This is an impossibly fine box set of treasures. Highly Recommended. Grady Harp, October 05
That work, of course, is the springboard for this cycle of complete VW symphonies. And a very satisfying journey through this inspiring canon of nine it is, too. Handley's affinity with English music needs no reiterating, but his relationship with Vaughan Williams in particular is a special one. More than most, he is alive to the changing and developing nature of the different symphonies through Vaughan Williams life - from the rich Romantic panoply of the 1st, taking in the influence of study with Ravel in the 3rd, the violence of Nos.4 & 6 and the idealisation of his Pilgrim music as well as that of his beloved Tudor composers in the Fifth, right through to the exploration of new sonorities and form in 7, 8 and 9. Throughout the cycle, this is music making that is honest, perceptive, communicative and frequently illuminating and inspiring.
Handley's Sea Symphony has terrific sweep in the opening movement, ideal rhythmic crispness in the scherzo and real depth in the long, questing Finale. Its one drawback is perhaps the somewhat cramped acoustics of Liverpool's Philharmonic Hall compared to, say, the fuller sound of the Kingsway Hall in Boult's second recording. His London Symphony is as fine as any, though I do now miss the passages opened out in Hickox's recording of the Original Version.
I'm inclined to think this the best Pastoral of any on disc: it finds Handley very sensitive to all the overtones of VW's experiences of the Great War that lie behind its overt pastoralism - Flanders Fields as much as English ones. This is followed by a stunning Fourth, matched only by the composer's own performance. The grinding dissonances of its motto motif, the bounce of the jazzier rhythms, the dark Beethovenian transition to the Finale are all perfectly realised: "I don't know if I like it, but it's what I meant" in VW's famous phrase and I feel sure Handley's performance is just what he meant.
The Fifth finds fierce competition from Boult (twice), Barbirolli (twice) and Haitink (most purely symphonic of all). But Handley strikes a fine balance between the Pilgrim's Progress antecedents of much of the material and the `absolute music' arguments to which it is subjected. This disc is almost worth it for the glorious horn counterpoint at the climax of the first movement alone, picked out by Handley as by no other conductor in my experience. His Sixth is another blistering reading to set beside that of his mentor, Boult, in mono for Decca. Handley's pp final movement here is too mystical to be mistaken for the post-nuclear landscape it's often compared to - it seems closer to VW's great friend, Holst's, Neptune. Pacing and colour are the strengths of this Antarctica, but only Haitink really succeeds in making it sound truly symphonic. And No.8 was always the domain of its dedicatee, `Glorious John' Barbirolli, who seemed to have the secret of its somewhat obtuse Variations without a Theme opening movement, its Bartokian Strings only and Wind only inner movements and the clangour of its Finale with `all the phones and spiels know to the composer'. However the elusive 9th is one of the best of Handley's set. He really seems to understand its deep, dark, Hardyesque mysteries, grounded as those novels seem to be in the very earth and land of England, as well as its further explorations of intriguing sonorities with the use of flugelhorn and saxophones.
The fill-ups from the original discs are here as well, including a fine Job and a superb Flos campi, another elusive work that seems to speak of secrets that are not to be found in the VW biographies. These are all considerable performances that reflect Handley's long-standing empathy with and authority in this music. And all at a bargain price.
The passage of time has left us two outstanding sets of Vaughan Williams symphonies by Boult, including a latter stereo version. I have heard both sets and they are wonderful. I prefer this one, however. Handley does things with some of the lesser played Vaughan Williams scores that, I believe, gives him an edge as the best of today's interpreters.
His version of the "Sea" Symphony No. 1 -- which is not a favorite of mine -- stacks up with anything out there. It avoids the bombastic approach taken by some conductors that do not completely understand the music or Vaughan Williams style. Even the new Atlanta Symphony version of the "Sea" Symphony does not exceed the vigor, loveliness and fine singing on parade under Handley's baton.
Handley also does wonderful things with the lesser known Symphonies 8 and 9, which some critics went wow over when Bernard Haitink recorded them together on one CD a few years back. Personally, I never heard the message of the dramatic 8th Symphony until I listened to this set.
Handley is hardly at a loss in the more well-known symphonies, either. His renditions of the "London" Symphony 2, "Pastoral" Sympony 3, Symphony 4 and "Antarctica" Symphony 7 are up with the best versions ever recorded. Handley's version is the first time I ever heard the chimes of Big Ben in the "London" symphony. His trip to Antarctica in Symphony 7 is probably the best one out there today and rivals the famous mono version Boult did 50 years ago, less the spoken tracts at the beginning and between sections.
Handley is equally fine in Vaughan Williams two violent symphonies, Nos. 4 and 6. In Symphony 4, he is especially visionary, understanding that the composer was not really writing about the impending world war when he penned the symphony in the late 1930s. Vaughan Williams said it was more about human interaction and communication and you hear this from Handley, who eschews much of the needless violence other conductors put into the score.
It is only the Symphony No. 5 where I find a clear preference to versions by Andre Previn in either of his stereo versions. Previn's 1988 Telarc recording also includes "Fantasia on a Theme by Thomas Tallis", perhaps Vaughan Williams' best-known melody. This is preferable to Handley's Symphony 5 diskmate, the "Flos Campi" Suite, which provides another moment for the Liverpool Philharmonic Choir to shine. Previn endows the wonderful symphony with more romance and emotion than Handley.
That's not to say Handley's recording is a dog. Hardly! His is an exquisite recording of some of the world's most beautiful music. It lacks little and competes with the best out there. All told, this is a five star set with beautiful and, when appropriate, powerful and visceral playing from the Royal Liverpool Philharmonic Orchestra.
There are other fine Vaughan Williams set extant -- both Boult sets, the exceptionally well-recorded Thomson on Chandos, various recordings by Previn & Hickox and those by Bakels on Naxos -- but no complete set quite captures Ralph Vaughan Williams as three dimensionally as this one. My only complaint is Classics for Pleasure could have mated Handley's equally brilliant version of "Job: A Masque for Dancing" with one of the shorter symphonies and did not.
I expected there would be tribal music on the CDs but its all traditional Middle Eastern songs. I love the traditional Middle Eastern music, that's what the band I'm in plays but I bought these CDs for Christmas presents and wanted more of a house music CD. I thought with Rachel on the cover it would have a more of an East meets West feel to the tracks. I was hoping they would have a more modern re-mixed with beats thrown in.
What a sleazy thing for a music company to do, all in hope that people like me would buy it just because she's on the cover.
Pros: For those performers who must dance in venues that do not allow singing in the music, these instrumental tracks suit the purpose. The music is not very lively, which some restaurant owners prefer for the dancer to use. In this case, perfect. Also, there are 3 CD's of music to choose from, and recognizable standards.
Cons: My first downside though is the image on the cover. This is an older stock image of Rachel Brice, and for fusion dancers, if you do not see the track listing, it may be misleading, for the music is Egyptian. On the content level, the CD's do blend after a while. There is not a lot of passion in the music, it is at a fairly steady moderate tempo, and due to it being the same musician for many of it, it seems to merge together.
As another reviewer said, it is great for background music, or for those who dance in a restaurant that wants hushed versions of instrumental classics, but if it's variety you're looking for, I'd recommend the Belly Dance Super Stars and Desert Roses CD's for all your classics with kick, and some new favorites.
Even he has a substantial rival in his earlier self on Decca, conducted under the gaze of the composer who delivers a touching speech of thanks to the players at the end of the pianissimo finale of the Sixth Symphony. This earlier Decca version probably has the edge for urgency and thrust in the quicker movements, but the sound on these later discs benefits enormously from the full warm stereo production typical of EMI in the 70's and also benefits from Sir Adrian's lifetime experience of these works.
In many ways, it is the earlier symphonies that come off best in this series. A wonderfully full-blooded Sea Symphony with a finely disciplined chorus, excellent soloists in John Carol Case and Sheila Armstrong (though she can't eclipse the magical Isobel Baillie in the older Boult set), and a rich Kingsway Hall acoustic get the set off to a fine start. The London Symphony was always special with Boult: he managed to achieve an ideal balance of symphonic thought with the touches of Edwardian period colour. The jingles of the hansom cab in the London fog and the cries of the street vendors come off particularly well here. But don't ignore Hickox's magnificent recording of the substantially longer original version. The Pastoral, too, is beautifully sustained in Boult's hands: the succession of slow, mostly quiet movements always glows with Pastoral intensity for him. Maybe his disciple, Vernon Handley, penetrates deeper into the dark echoes of the composer's experiences as an ambulance driver in the Great War.
The Fourth - "I don't know if I like it, but it's what I meant," in VW's famous quote - is full of barely restrained power, but perhaps would benefit from a bit more urgency at times. The Fifth, arguably the most symphonic of all the symphonies despite the Pilgrim's Progress origins of much of its material, gets an authentically profound performance with the LPO. Maybe we are closer to the Pilgrim origins here than to the symphonic arguments behind their transformations. There is serious competition in this symphony from Barbirolli (his 1st recording), from Haitink and from Handley. Haitink is the most 'symphonic', Barbirolli the most impassioned, Handley probably the most balanced.
The Sixth is fine, suitably violent and desolate by turns, but doesn't quite match Boult's blistering earlier recording. The Antarctica is curiously lack-lustre here - Haitink's is the revelatory performance of this symphony. The Eighth has always seemed to be the special domain of its dedicatee, Barbirolli, who had the key to unlocking its mixture of wild and wonderful orchestration (including "all the 'phones and 'spiels known to the composer") with cryptic symphonic argument. The enigmatic Ninth seems to elude most conductors, including Boult here. Handley comes closest to revealing its dark Hardyesque mysteries.
There are two additional discs of extra stuff, all beautifully played. Specially noteworthy are a Serenade to Music that comes close to matching Henry Wood's original line-up of soloists, Hugh Bean as a magically carolling Lark Ascending, a real rarity in the Double Piano Concerto and a great Job, perhaps the VW work closest to Boult's heart.
This set is excellent value for money and, for a complete collection of the symphonies, probably the best all-round recommendation - though Tod Handley runs it pretty close. Maybe the bonus items tip the balance Boult's way.
Vaughan Williams is one of the finest symphonists ever -- a thorough-going craftsman -- whose music connects the English countryside of a hundred years ago to the agonies of war and uproar of the century just past. People will be listening to this music long after the academics have come and gone; and this recording will still be the benchmark.
Of the British crop, the only works that cross the Atlantic with any frequency are Elgar Sym. #1, Walton Sym. #1, and a handful of the Vaughan Williams nine. Boult's second set of the VW symphonies, in stereo for EMI as opposed to mono for Decca, is all anybody really needs. Some of the performances have been bettered individually--one thinks of Handley's VW First, Bernstein's Fourth, Barbirolli's Second, Stokowski's Fourth and Sixth--but these symphonies aren't masterpieces. Boult has a fine orchestra in the London Phil. and good analog sound from EMI; his readings are dramatic and interesting, if not always deep.
If this were a Beethoven cycle, I'd want three or four alternative sets. Here it's not necessary. You can own all of VW's symphonic output and be assured that each reading is good enough to do justice to the music. Of course, this won't stop British enthusiasts, but for Americans time might be better spent uncovering the shamefully neglected symphonic past--and present--of our native composers.
#1. I won't mince words here: This Sea Symphony is absolutely dazzling, the finest I have ever heard. Boult I was also pretty extraordinary, but Boult II's superb stereo sound and slightly stronger vocal line-up make it a clear first choice.
#2. Boult I is a more energetic performance than Boult II. Sonically, however, Boult II offers a far more vivid listening experience. I am also rather fond of Barbirolli's first recording (on Dutton, paired with his magnificent 8th). My favorite "live" 2nd is a superb Malcolm Sargent reading, available only in an expensive 10-disc set from the Chicago Symphony. That set is well worth owning: it also contains what I feel are the finest-ever recordings of three great Third Symphonies (Mahler's, Prokofiev's and Roussel's), in readings by (respectively) Martinon, Kondrashin and Munch.
#3. Boult II is my favorite here, just ahead of Previn (RCA).
#4. Boult II simply lacks the incredible rhythmic snap and commitment of Boult I, which is my favorite account along with the Stokowski (Cala) and the composer himself (Dutton, paired with Barbirolli's fine 5th). In V W's own reading, the influence of the composer's contemporaries (especially Honegger, Janacek and Roussel) sounds more noticeable than in any other recording.
#5. Boult I and II are both excellent. Despite II's better sound, I think I prefer I's greater exuberance (especially in the 2nd mvt.) Likewise, I am very fond of both Barbirolli readings (Dutton and EMI), but retain a slight preference for the mono Dutton (which also has V W's own hell-for-leather rendition of the 4th).
#6. Boult I is far better than the slightly soggy Boult II: the former is my favorite performance of the work, despite the mono sound. At the end is a touching little speech given by the composer, in which he thanks Boult and the orchestra for their incredible pianissimo playing in the Epilogue: Indispensable. In stereo, the inexpensive Bakels (Naxos) is excellent.
#7. It's almost a toss-up here, but Boult II ultimately wins out on the basis of sound. But Boult I is no sonic slouch, and Sir John Gielgud's stately narration is a handsome dividend.
#8. Here I feel that, while Boult II is clearly superior to Boult I, neither comes even close to matching the classic first studio recording by Barbirolli, to whom the work is dedicated. The latter is coupled on Dutton with Barbirolli's fine #2 (both in stereo). Barbirolli's studio effort is FAR better played than his live 8th on BBC Legends.
#9. Boult I, this time in clear stereo sound (licensed from Everest), is in every way superior to Boult II, which is curiously detached. Unfortunately, the excellent "Job: A Masque for Dancing" that was Everest's discmate has not been retained. That's a pity: nobody ever did it better, although the Boult II is very satisfying.
All of the smaller works included on Boult II (the Boult I set has just the 9 symphonies) receive fine performances. Especially noteworthy is the Serenade to Music: it even eclipses the classic first-ever recording by Sir Henry Wood (on Dutton). In the Tallis Variations, there are wonderful versions worth hearing from Silvestri (EMI), Stokowski (Bridge) and Barbirolli (EMI). Silvestri also recorded a superlative Wasps (EMI).
If recorded sound is your uppermost concern, then Boult II will prove the more satisfying. But if you want to hear Boult's V W interpretations at their finest, then owning both sets becomes essential.
The debut longplayer for JAMES COTTON (aka DABRYE, SK-1, & his real name TADD MULLINIX). Dancing Box pays tribute to classic Chicago acid and leftfield Detroit techno, all the while flowing like an album which can exist outside of the dancefloor. A stunning effort, and meticulously packaged.
The Dancing Box,James T. Cotton,Spectral Sound,Acid House,Club/Dance,Dance Music,Electronic,Experimental Techno,Left-Field House,Pop
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CHRISTMAS at King's College
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ASIN: B000009RSR Release Date: 1998-09-15 |
Tracks:
- Once In Royal David's City - King's College Choir, Cambridge
- O Little Town Of Bethlehem - Palestrina
- The First Nowell - King's College Choir, Cambridge
- I Saw Three Ships - King's College Choir, Cambridge
- Personent hodie - Byrd
- Myn Lyking - Byrd
- A Spotless Rose - Gibbons
- Away In A Manger - Weelkes
- I Sing Of A Maiden - Weelkes
- O Come, O Come Emmanuel - King's College Choir, Cambridge
- While Shepherds Watched - King's College Choir, Cambridge
- Up! Good Christian Folk And Listen - King's College Choir, Cambridge
- In The Bleak Midwinter - King's College Choir, Cambridge
- Silent Night - King's College Choir, Cambridge
- The Holly And The Ivy - King's College Choir, Cambridge
- It Came Upon A Midnight Clear - Taylor
- The Three Kings - King's College Choir, Cambridge
- On Christmas Night - King's College Choir, Cambridge
- A Child Is Born In Bethlehem - King's College Choir, Cambridge
- In dulci jubilo - King's College Choir, Cambridge
- O Come, All Ye Faithful - King's College Choir, Cambridge
- Hark! The Herald Angels Sing - Warlock
Tracks:
- Once In Royal David's City - King's College Choir, Cambridge
- Bidding Prayer - King's College Choir, Cambridge
- Resonet in laudibus - King's College Choir, Cambridge
- Genesis 3 - King's College Choir, Cambridge
- Adam lay ybounden - King's College Choir, Cambridge
- Sussex Carol - King's College Choir, Cambridge
- Isaiah 9 - King's College Choir, Cambridge
- Joseph And Mary - King's College Choir, Cambridge
- St Luke 1 - King's College Choir, Cambridge
- A Maiden Most Gentle - King's College Choir, Cambridge
- St Luke 2 - King's College Choir, Cambridge
- Stille Nacht! - King's College Choir, Cambridge
- Chester Carol - King's College Choir, Cambridge
- St Luke 2 - King's College Choir, Cambridge
- Angels, From The Realms Of Glory - King's College Choir, Cambridge
- St Matthew 2 - King's College Choir, Cambridge
- A Babe Is Born - King's College Choir, Cambridge
- St John 1 - King's College Choir, Cambridge
- O Come, All Ye Faithful - King's College Choir, Cambridge
- Collect For Christmas Eve And The Blessing - King's College Choir, Cambridge
- Hark! The Herald Angels Sing - King's College Choir, Cambridge
- In dulci jubilo - King's College Choir, Cambridge
Tracks:
- Hodie Christus natus est - King's College Choir - Philip Ledger
- Hodie Christus natus est - King's College Choir - Philip Ledger
- O magnum mysterium - King's College Choir - Philip Ledger
- Senex puerum portabat - King's College Choir - Philip Ledger
- Senex puerum portabat - King's College Choir - Philip Ledger
- Hodie beata virgo - King's College Choir - Philip Ledger
- Hosanna To The Son Of David - King's College Choir - Philip Ledger
- Hosanna To The Sun Of DAvid - King's College Choir - Philip Ledger
- Gloria in excelsis Deo - King's College Choir - Philip Ledger
- When To The Temple Mary Went - King's College Choir - Philip Ledger
- Nowell! Nowell! Nowell! - King's College Choir - Philip Ledger
- The Holly And The Ivy - King's College Choir - Philip Ledger
- Angelus ad virginem - King's College Choir - Philip Ledger
- Angelus ad virginem - King's College Choir - Philip Ledger
- I Sing Of A Maiden - King's College Choir - Philip Ledger
- Watt's Cradle Song - King's College Choir - Philip Ledger
- My Dancing Day - King's College Choir - Philip Ledger
- Sing A Song Of Joy - King's College Choir - Philip Ledger
- Jesus Christ The Apple Tree - King's College Choir - Philip Ledger
- Most Glorious Lord Of Life - King's College Choir - Philip Ledger
- That Lord That Lay In Asse Stall - King's College Choir - Philip Ledger
- Where Riches Is Everlastingly - King's College Choir - Philip Ledger
Tracks:
- I Look From Afar - The Choir Of King's College, Cambridge
- Come, Thou Redeemer Of The Earth - The Choir Of King's College, Cambridge
- Isaiah 40: 1 - 8 - The Choir Of King's College, Cambridge
- Drop Down, Ye Heavens, From Above - The Choir Of King's College, Cambridge
- Jeremiah 23: 5 - 6 - The Choir Of King's College, Cambridge
- O Come, O Come Emmanuel! - The Choir Of King's College, Cambridge
- Haggai 2: 6 - 9 - The Choir Of King's College, Cambridge
- Up, Awake And Away! - The Choir Of King's College, Cambridge
- All And Some - The Choir Of King's College, Cambridge
- Isaiah 35: 1 - 6 - The Choir Of King's College, Cambridge
- 'Twas In The Year - The Choir Of King's College, Cambridge
- The Cherry Tree Carol - The Choir Of King's College, Cambridge
- King Jesus Has A Garden - The Choir Of King's College, Cambridge
- On Jordan's Bank The Baptist's Cry - The Choir Of King's College, Cambridge
- St. Luke 1: 26 - 35 And 38 - The Choir Of King's College, Cambridge
- Gabriel's Message - The Choir Of King's College, Cambridge
- Wake, O Wake! With Tidings Thrilling - The Choir Of King's College, Cambridge
- St. Mark 1: 1 - 4a And 7 -15 - The Choir Of King's College, Cambridge
- I Wonder As I Wander - The Choir Of King's College, Cambridge
- My Dancing Day - The Choir Of King's College, Cambridge
- Judah And Jerusalem, Fear Not - The Choir Of King's College, Cambridge
- Prayers And Blessing - The Choir Of King's College, Cambridge
- Lo! He Comes With Clouds Descending - The Choir Of King's College, Cambridge
- Nun komm', der Heiden Heiland - The Choir Of King's College, Cambridge
Customer Reviews:
4 Disc tour de' force of "high church" Christmas music.......2003-04-19
Average customer rating:
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William Kapell Edition (Box Set)
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ASIN: B00000B9MR Release Date: 1998-09-29 |
Tracks:
- Mazurkas: Op. 6, No. 2
- Mazurkas: Op. 7, No. 2
- Mazurkas: Op. 7, No. 5
- Mazurkas: Op. 17, No. 2
- Mazurkas: Op 17, No 3
- Mazurkas: Op. 17, No. 4
- Mazurkas: Op. 24, No. 1
- Mazurkas: Op. 24, No. 3
- Mazurkas: Op. 30, No. 3
- Mazurkas: Op. 33, No. 1
- Mazurkas: Op. 33, No. 3
- Mazurkas: Op. 33, No. 4
- Mazurkas: Op. 41, No. 1
- Mazurkas: Op. 41, No. 2
- Mazurkas: Op. 50, No. 2
- Mazurkas: Op. 50, No. 3
- Mazurkas: Op. 56, No. 3
- Mazurkas: Op. 59, No. 1
- Mazurkas: Op. 59, No. 2
- Mazurkas: Op. 63, No. 2
- Mazurkas: Op. 63, No. 3
- Mazurkas: Op. 67, No. 2
- Mazurkas: Op. 67, No. 3
- Mazurkas: Op. 67, No. 4
- Mazurkas: Op. 68, No. 2
- Mazurkas: Op. 68, No. 3
- Mazurkas: Op. 68, No. 4
- Mazurkas: Op posth. - 'Notre temps'
- Mazurkas: Op posth - In B Flat
Tracks:
- Sonata No. 3, Op. 58 In B Minor: Allegro maestoso
- Sonata No. 3, Op. 58 In B Minor: Scherzo: Molto vivace
- Sonata No. 3, Op. 58 In B Minor: Largo
- Sonata No. 3, Op. 58 In B Minor: Finale: Presto, non tanto
- Waltz, Op. 18 In E Flat Major
- Sonata No. 2, Op. 35 In B-Flat Minor: Grave; Doppio movimento
- Sonata No. 2, Op. 35 In B-Flat Minor: Scherzo
- Sonata No. 2, Op. 35 In B-Flat Minor: Marche funebre
- Sonata No. 2, Op. 35 In B-Flat Minor: Presto
- Nocture, Op. 9, No. 1 In B Flat Minor
- The Sheperd's Complaint: No. 5, Songs Without Words, Op. 67
- Romance, Op. 28, No. 2 In F Sharp
- Sonata No. 16, K. 570 In B Flat: II. Adagio
Tracks:
- Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace; Variation I: (Precedente)
- Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation II: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation III: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation IV: Piu Vivo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation V: Tempo precedente
- Rhapsody On A Theme Of Paganini, Op. 43: Varation VI: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation VII: Meno mosso, a tempo moderato
- Rhapsody On A Theme Of Paganini, Op. 43:: Varation VII: Tempo 1
- Rhapsody On A Theme Of Paganini, Op. 43: Varation IX: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation X: Poco marcato
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XI: Moderato
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XII: Tempo di minuetto
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XIII: Allegro
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43:: Varation XV: Piu vivo scherzando
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XVI: Allegretto
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XVII: [Allegretto]
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XVIII: Andante cantabile
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XIX: A tempo vivace
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XX: Un poco piu vivo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XXI: Un poco piu vivo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XXII: Un poco piu vivo (Alla breve)
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XXIII: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: A tempo un poco meno mosso
- Concero No. 2, Op. 18 In C Minor: Moderato; Allegro
- Concero No. 2, Op. 18 In C Minor: Adagio sostenuto
- Concero No. 2, Op. 18 In C Minor: Allegro scherzando
- Prelude, Op. 3, No. 2 In C Sharp Minor
- Preludes, Op. 34: No. 24 In D Minor
- Preludes, Op. 34: No. 10 In C Sharp Minor
- Preludes, Op. 34: No. 5 In D Major
Tracks:
- Concerto No. 3, Op. 26 In C: Andante; Allegro
- Concerto No. 3, Op. 26 In C: Tema: Andantino
- Concerto No. 3, Op. 26 In C: Variation I: Listesso tempo
- Concerto No. 3, Op. 26 In C: Variation II: Allegro
- Concerto No. 3, Op. 26 In C: Variation III: Allegro moderato (poco meno mosso)
- Concerto No. 3, Op. 26 In C: Variation IV: Andante meditativo
- Concerto No. 3, Op. 26 In C: Variation V: Allegro giusto
- Concerto No. 3, Op. 26 In C: Tema: Listesso tempo
- Concerto No. 3, Op. 26 In C: Allegro ma non troppo
- Concerto: Allegro mastoso
- Concerto: Andante con anima
- Concerto: Allegro brillante
- Preludes, Op. 34: No. 14 In E Flat Minor
- Preludes, Op. 34: No. 10 In C Sharp Minor
- Preludes, Op. 34: No. 5 In D Major
Tracks:
- Concerto No. 2, Op. 19 In B Flat Major: Allegro con brio
- Concerto No. 2, Op. 19 In B Flat Major: Largo
- Concerto No. 2, Op. 19 In B Flat Major: Rondo: Allegro scherzando
- Moment Musical: Moment Musical In F Minor, D. 780, No. 3
- Waltz: Waltz In B Major, D. 145, No. 2
- Waltz: Waltz In B Major, D. 145, No. 6
- Waltz: Waltz In E Major, D. 365, No. 26
- Waltz: Waltz In F Major, D. 365, No. 32
- German Dances: German Dance In B Flat Major, D. 783, No. 6
- German Dances: German Dance In B Flat Major, D. 783, No. 7
- Waltz: Waltz, In F Major, D. 365, No. 34
- Landler: Landler, In G Major, D. 734, No. 1
- Landler: Landler, In D Major, D. 734, No. 2
- Impromptu: Impromptu In A Flat Major, D. 935, No. 2
- Romance: Romance In F Sharp Major, Op. 28, No. 2
- Intermezzo: Intermezzo In E Major, Op. 116, No. 6
- Sonetto No. 104 del Petrarca - Liszt
- Hungarian Rhapsody No. 11 - Liszt
- Mephisto Waltz No. 1 - Liszt
Tracks:
- Partita No. 4 In D Major, BWV 828: Ouverture
- Partita No. 4 In D Major, BWV 828: Allemande
- Partita No. 4 In D Major, BWV 828: Courante
- Partita No. 4 In D Major, BWV 828: Aria
- Partita No. 4 In D Major, BWV 828: Sarabande
- Partita No. 4 In D Major, BWV 828: Menuet
- Suite In A Minor, BWV 818: Allemande
- Suite In A Minor, BWV 818: Courante
- Suite In A Minor, BWV 818: Sarabandes 1 & 2
- Suite In A Minor, BWV 818: Gigue
- Sonata In E Flat Major, K. 380 - L. 23
- Sonata In B Flat Major, K. 570: 2. Adagio
- From Iberia: Evocacion
- Piano Playtime: No. 1: Waltz Of The Rainbow
- Piano Playtime: No. 4: By The Brook
- Piano Playtime: No. 5: Dancing Bagpipes
- Piano Playtime: No. 6: Tricky Trumpet
- Children's Corner: Dr. Gradus ad Parnassum
- Children's Corner: Jimbo's Lullaby
- Children's Corner: Serenade For The Doll
- Children's Corner: The Snow Is Dancing
- Children's Corner: The Little Shepherd
- Children's Corner: Golliwog's Cakewalk
- Toccata ostinato
Tracks:
- Sonata In G Minor, Op. 19: Lento; Allegro moderato
- Sonata In G Minor, Op. 19: Allegro scherzando
- Sonata In G Minor, Op. 19: Andante
- Sonata In G Minor, Op. 19: Allegro mosso; Meno mosso; Moderato; Piu vivo
- Sonata In F Minor, Op. 120, No. 1: Allegro appassionato
- Sonata In F Minor, Op. 120, No. 1: Andante un poco adagio
- Sonata In F Minor, Op. 120, No. 1: Allegretto grazioso
- Sonata In F Minor, Op. 120, No. 1: Vivace
- Sonata In D Minor, No. 3, Op. 108: Allegro
- Sonata In D Minor, No. 3, Op. 108: Adagio
- Sonata In D Minor, No. 3, Op. 108: Un poco presto e con sentimento
- Sonata In D Minor, No. 3, Op. 108: Presto agitato
Tracks:
- Piano Sonata (1941): Molto moderato
- Piano Sonata (1941): Vivace
- Piano Sonata (1941): Andante sostenuto
- Nocturne In E - Flat - Op 55, 2
- Mazurka In C - Op 33, 3
- Polonaise-Fantasie In A - Flat - Op 61
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: The Gnome
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: The Old Castle
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: Tuileries
- Pictures At An Exhibition: Bydlo
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: Ballet Of The Unhatched Chicks
- Pictures At An Exhibition: Samuel Goldenberg And Schmuyle
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: Limoges - The Market
- Pictures At An Exhibition: Catacombs
- Pictures At An Exhibition: Con mortuis In lingua Mortua
- Pictures At An Exhibition: The Hut On Fowl's Legs
- Pictures At An Exhibition: The Great Gate At Kiev
- No 1 - Kinderszenen: About Foreign Lands And People
- Sonata In E (K 380) - L. 23
Tracks:
- Partita No. 4 In D Major, BWV. 828: Allemande (Beginning)
- Sonata No. 10 In C Major, K. 330: 1. Allegro moderato (Beginning)
- Sonata No. 3 In B Minor, Op. 58: 1. Allegro maestoso (Beginning)
- Sonata No. 3 In B Minor, Op. 58: 3. Largo
- Mazurka In A Flat Major, Op. 17, No. 3
- Sonata No. 3 In D Minor, Op. 108: 2. Adagio
- No. 4, Songs Without Words, Op. 67: Spinning Song
- Interview With William Kapell
Amazon.com essential recording
Blessed with transcendent technique and an affinity for big, bold Romantic works, William Kapell has been hailed as America's greatest homegrown pianist. This comprehensive collection of his complete recorded output, previously unreleased recordings, and broadcast tapes adds luster to a reputation that's become legendary since his tragic death in a plane crash at age 31. The earliest recordings, from the mid-1940s, bristle with raw energy and virtuosic flourishes tempered by an innate musicality that rises above mere display.The disc coupling Khachaturian and Prokofiev concertos is charged with excitement; the Rachmaninoff pairing of the Paganini Variations and the Concerto No. 2 weds the Grand Romantic style to poetic lyricism; and an inspired Liszt group is charged with dynamic energy. Best may be the two Chopin discs: spontaneous, rhythmically flexible sonatas and mazurkas. The later recordings demonstrate the repose that comes with artistic maturity, and the "live" broadcasts reveal Kapell's warmth and spontaneity in concert. Splendid transfers help make this long-awaited set appealing to music lovers in general, as well as piano buffs. --Dan Davis
Customer Reviews:
Very touched.......2006-09-24
In Memorium.......2005-10-29
A few years later, in the middle 50's, I bought Kapell's recording of the same work, with Fritz Reiner and the Robin Hood Dell Orchestra (alias of The Philadelphia Orchestra). I still have that LP, though I wore it out long ago. It was the beginning of my musical education. But since 1998, we have had this wonderful box of reissues from the vaults of RCA. The sound is mostly excellent, considering the age of the monophonic originals. To this day, Kapell's Rachmaninov Rhapsody remains-in my opinion-the most impassioned, yet the most musical, reading of the piece ever recorded. No one had, or has, Kapell's combination of white-hot temperament, technical brilliance, and musical insight. We have had musical geniuses; technical wizards abound. It is the combination of these gifts, as Kapell possessed them in particular, married to his incendiary passion, that made him unique.
He was still learning, and he was learning at such an astounding rate! He had moved from Khachaturian to the most unforgettable Chopin B minor Sonata ever recorded in little more than a decade. His deep throated, noble, and articulate Bach has caused some to speculate that Glenn Gould might have found his inspiration in Kapell. One Gould biographer, and a New York critic, wrote that the reverse was true. The critic acknowledged the error, in print, noting that Kapell could not have been influenced by Gould's style since he had been dead for two years by the time of Gould's debut recital in New York City in 1955.
The lyrical side of romantic music is not what Kapell was or is known for, not his "style" as people remember him now. But listening to the lyrical music in this set shows a side of him that was, nevertheless, as real as any, and perhaps more revealing. It also gives us a notion of what we might have expected of William Kapell had he lived a normal span of years and played a normal variety of music. In a live performance, he plays Chopin's Nocturne, Op. 9, No. 1, with melting legato and exquisite timing: his innate sense about when to tug on the beat and when to surge forward makes the music breathe. His use of dynamic variety demands the greatest respect: at one point, the repetition of a melodic phrase is but a pale echo of its first statement. His tonal palette is no less wondrous. When a deep bass note suddenly appears, early in the A section of the ABA structure, it sounds-not loud nor quiet, not muffled nor distinct-but awesomely subterranean. Kapell begins the piece without much sustaining pedal, but in the B section, he subtly adds more and more. Then, when the A section returns near the end, the pedal disappears. This dramatic change in color-along with Chopin's change of key-seems like the parting of clouds. We are in the hands of two masters here, Chopin and Kapell. Kapell gave this performance in Carnegie Hall in February of 1945, when he was twenty-two years old.
In the Bach and Chopin works I've discussed, the steely, percussive tone that some speak of is nowhere to be heard. Rather, we hear a full, rich, and complex piano tone. In the Chopin Sonatas, the Debussy pieces, and the Schubert, Schumann, Mendelssohn, Debussy, and Albeniz, the sound Kapell produces is beautiful and varied.
He was a chamber musician of the first order, as his collaborations with Heifetz prove. (He was one of the very few musicians who had the force of personality to make Heifetz accompany HIM. And you can hear it.) And if you've never heard Rachmaninov's great Cello Sonata, played here with the grand Russian/German cellist Edmund Kurtz, you're in for a treat. There are several fine, modern stereo recordings, but this one is special. The piano part is very important-Rachmaninov did write it, after all-and Kapell is magnificent. This was Rachmaninov's next published work after the 2nd Piano Concerto, to give you an idea of its melodic grandeur. If there is a flaw here, it is that the piano is recorded too far back, relative to the cello.
Kapell died on October 30, 1953. He had just turned thirty-three. He played his last recital in Geelong, Australia, on the 22nd. It included the Chopin 2nd Piano Sonata which contains the well-known "Marche funèbre." That performance is included here, transferred from the original acetates. It is a great performance but very hard to listen to now, in light of what was to follow just over a week later. I am writing this one day short of the 52nd anniversary of Kapell's death. Had he lived until today, he would be younger than either Earl Wild or Ivan Moravec, both of whom are still making magnificent music. For those of us who love William Kapell's music, it is heartbreaking to consider, and fruitless. Thank Heaven we have recordings like the ones in this set. They are essential for any lover of good music.
John Pendley
Priceless Souvenirs from a Rare Genius: Ave Atque Vale.......2005-10-28
William Kapell is still considered by most as the America's greatest pianist, even fifty odd years after his death at the age of 31 in a plane crash. Those who heard him perform still rhapsodize over the magic he created. Those of us who are left with only recordings, such as this spectacular boxed set of all of his recordings, can only be uplifted by the man's genius, his extraordinary technical facility, and his intuitive, profound approach to the great works of music.
All styles of music were easily accessible to Kapell. Listen to the Mozart, Bach, Scarlatti, Paganini and Mendelssohn and try to imagine performances of more clarity and finesse than these. His Chopin is well represented in this set and glows with the uncanny power and tenderness that Chopin combined in his works. His works for solo piano by Rachmaninov and Shostakovich are the gold standard, and yet his Schubert, Schumann, Brahms, Mussorgsky and Liszt raise the bar for excellence that has since not been excelled. Joyously this set includes concerti including Prokofiev, Beethoven, Khachaturian, and Rachmaninov with the various conductors who saw Kapell's gifts and championed them.
The memory of this great artist is felt throughout the year, but never as acutely as on October 29th which marks the date of his cruel death. The world was brightened for too short a time by William Kapell, yet because of his recorded legacy his legend lives on. This is an impossibly fine box set of treasures. Highly Recommended. Grady Harp, October 05
Poetry without words.......2004-12-14
What Is Technically Difficult Is Not Always Pleasant To Hear.......2004-10-02
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ASIN: B000084T05 Release Date: 2003-03-11 |
Average customer rating: 
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Night in the Casbah
Various Artists Manufacturer: Delta ProductGroup: Music Binding: Audio CD General
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ASIN: B00001NTMK Release Date: 1999-09-28 |
Tracks:
- Andetli Warda [Gay and Lighthearted Song of Enticement]
- Uotaaref Men Elihabek [My Tongue Repeats the Beautiful Melody But ...]
- Bir Ish Tamal Haavash [An Ancient Turkish Lament Of]
- Ana Ou Anti Ou Anti Ou' Ana [You and Me, Me and You, Nothing Could ...]
- Dalamouni Habibi [The Fire of Love Kindles]
- Asmaousemara [The Dark Skinned One]
- Ashin [Ashin Is a Common Name Meaning Beauty Oh, Ashin, N]
- Ya Bay [Alas!]
- Chataaraban [The Charm Lies in the Music Which Accompanies the]
Tracks:
- Asmaousemara
- Ahsin
- Ya Bay
- Nar Houbi Techaal
- Cahtaaraban
- El-Ameh
- Nider Ali'a
- Shway Shway
- Mabihwa Gayrak
Customer Reviews:
generic.......2002-09-04
not bad for the price.......2001-02-08
Average customer rating:
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Vaughan Williams: The Nine Symphonies; Job (Box Set)
Manufacturer: Class. for Pleas. Us ProductGroup: Music Binding: Audio CD Ballets
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ASIN: B00006J3LP Release Date: 2002-11-06 |
Tracks:
- A Sea Symphony
- A London Symphony
- Symphony No. 8 In D Minor
- English Folk Song Suite
- A Pastoral Symphony
- Symphony No. 4 In F Minor
- Flos Campi
- Oboe Concerto In A Minor
- Symphony No. 5 In D
- Symphony No. 6 In E Minor
- Symphony No. 9 In E Minor
- Fantasia On "Greensleeves"
- Serenade To Music
- Partita For Double String Orchestra
- Sinfonia Antartica
- Fantasia On A Theme By Thomas Tallis
- Five Variants Of Dives And Lazarus
- Job - A Masque For Dancing
Customer Reviews:
RESTORES ONE'S FAITH IN HONEST MUSIC MAKING.......2007-03-29
That work, of course, is the springboard for this cycle of complete VW symphonies. And a very satisfying journey through this inspiring canon of nine it is, too. Handley's affinity with English music needs no reiterating, but his relationship with Vaughan Williams in particular is a special one. More than most, he is alive to the changing and developing nature of the different symphonies through Vaughan Williams life - from the rich Romantic panoply of the 1st, taking in the influence of study with Ravel in the 3rd, the violence of Nos.4 & 6 and the idealisation of his Pilgrim music as well as that of his beloved Tudor composers in the Fifth, right through to the exploration of new sonorities and form in 7, 8 and 9. Throughout the cycle, this is music making that is honest, perceptive, communicative and frequently illuminating and inspiring.
Handley's Sea Symphony has terrific sweep in the opening movement, ideal rhythmic crispness in the scherzo and real depth in the long, questing Finale. Its one drawback is perhaps the somewhat cramped acoustics of Liverpool's Philharmonic Hall compared to, say, the fuller sound of the Kingsway Hall in Boult's second recording. His London Symphony is as fine as any, though I do now miss the passages opened out in Hickox's recording of the Original Version.
I'm inclined to think this the best Pastoral of any on disc: it finds Handley very sensitive to all the overtones of VW's experiences of the Great War that lie behind its overt pastoralism - Flanders Fields as much as English ones. This is followed by a stunning Fourth, matched only by the composer's own performance. The grinding dissonances of its motto motif, the bounce of the jazzier rhythms, the dark Beethovenian transition to the Finale are all perfectly realised: "I don't know if I like it, but it's what I meant" in VW's famous phrase and I feel sure Handley's performance is just what he meant.
The Fifth finds fierce competition from Boult (twice), Barbirolli (twice) and Haitink (most purely symphonic of all). But Handley strikes a fine balance between the Pilgrim's Progress antecedents of much of the material and the `absolute music' arguments to which it is subjected. This disc is almost worth it for the glorious horn counterpoint at the climax of the first movement alone, picked out by Handley as by no other conductor in my experience. His Sixth is another blistering reading to set beside that of his mentor, Boult, in mono for Decca. Handley's pp final movement here is too mystical to be mistaken for the post-nuclear landscape it's often compared to - it seems closer to VW's great friend, Holst's, Neptune. Pacing and colour are the strengths of this Antarctica, but only Haitink really succeeds in making it sound truly symphonic. And No.8 was always the domain of its dedicatee, `Glorious John' Barbirolli, who seemed to have the secret of its somewhat obtuse Variations without a Theme opening movement, its Bartokian Strings only and Wind only inner movements and the clangour of its Finale with `all the phones and spiels know to the composer'. However the elusive 9th is one of the best of Handley's set. He really seems to understand its deep, dark, Hardyesque mysteries, grounded as those novels seem to be in the very earth and land of England, as well as its further explorations of intriguing sonorities with the use of flugelhorn and saxophones.
The fill-ups from the original discs are here as well, including a fine Job and a superb Flos campi, another elusive work that seems to speak of secrets that are not to be found in the VW biographies. These are all considerable performances that reflect Handley's long-standing empathy with and authority in this music. And all at a bargain price.
Excellence throughout.......2004-10-16
The passage of time has left us two outstanding sets of Vaughan Williams symphonies by Boult, including a latter stereo version. I have heard both sets and they are wonderful. I prefer this one, however. Handley does things with some of the lesser played Vaughan Williams scores that, I believe, gives him an edge as the best of today's interpreters.
His version of the "Sea" Symphony No. 1 -- which is not a favorite of mine -- stacks up with anything out there. It avoids the bombastic approach taken by some conductors that do not completely understand the music or Vaughan Williams style. Even the new Atlanta Symphony version of the "Sea" Symphony does not exceed the vigor, loveliness and fine singing on parade under Handley's baton.
Handley also does wonderful things with the lesser known Symphonies 8 and 9, which some critics went wow over when Bernard Haitink recorded them together on one CD a few years back. Personally, I never heard the message of the dramatic 8th Symphony until I listened to this set.
Handley is hardly at a loss in the more well-known symphonies, either. His renditions of the "London" Symphony 2, "Pastoral" Sympony 3, Symphony 4 and "Antarctica" Symphony 7 are up with the best versions ever recorded. Handley's version is the first time I ever heard the chimes of Big Ben in the "London" symphony. His trip to Antarctica in Symphony 7 is probably the best one out there today and rivals the famous mono version Boult did 50 years ago, less the spoken tracts at the beginning and between sections.
Handley is equally fine in Vaughan Williams two violent symphonies, Nos. 4 and 6. In Symphony 4, he is especially visionary, understanding that the composer was not really writing about the impending world war when he penned the symphony in the late 1930s. Vaughan Williams said it was more about human interaction and communication and you hear this from Handley, who eschews much of the needless violence other conductors put into the score.
It is only the Symphony No. 5 where I find a clear preference to versions by Andre Previn in either of his stereo versions. Previn's 1988 Telarc recording also includes "Fantasia on a Theme by Thomas Tallis", perhaps Vaughan Williams' best-known melody. This is preferable to Handley's Symphony 5 diskmate, the "Flos Campi" Suite, which provides another moment for the Liverpool Philharmonic Choir to shine. Previn endows the wonderful symphony with more romance and emotion than Handley.
That's not to say Handley's recording is a dog. Hardly! His is an exquisite recording of some of the world's most beautiful music. It lacks little and competes with the best out there. All told, this is a five star set with beautiful and, when appropriate, powerful and visceral playing from the Royal Liverpool Philharmonic Orchestra.
There are other fine Vaughan Williams set extant -- both Boult sets, the exceptionally well-recorded Thomson on Chandos, various recordings by Previn & Hickox and those by Bakels on Naxos -- but no complete set quite captures Ralph Vaughan Williams as three dimensionally as this one. My only complaint is Classics for Pleasure could have mated Handley's equally brilliant version of "Job: A Masque for Dancing" with one of the shorter symphonies and did not.
Average customer rating: 
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When You Wish Upon A Star: A Salute To Walt Disney
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General Modern
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ASIN: B0000014BT Release Date: 1994-02-15 |
Tracks:
- Batman
- What Kind Of A Fool Am I?
- You've Got A Friend
- Ja-Da
- Sacrifice
- We've Only Just Begun
- We Are The World
- Nature Boy
- La Vie En Rose
- All Or Nothing
- Instant And Sweet
- Escapade
Customer Reviews:
Mixed Bag.......2005-08-19
Huh?????.......2004-10-22
Lush orchestral arrangements of Disney and Sherman favorites.......2003-04-26
Average customer rating:
|
Belly Dance
Various Artists Manufacturer: Box ProductGroup: Music Binding: Audio CD General
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| Styles
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ASIN: B000CCW09U Release Date: 2006-02-13 |
Tracks:
- Gannouji (SMhen) [Instrumental]
- Oustoura Jadida (Ein Neues Mhen) [Instrumental]
- Baladna Janni (Unsere Heimat Ist ein Paradies) [Instrumental]
- Ahlan Bil Amira (Wilkommen Prinzessin) [Instrumental]
- Miriam (Miriam) [Instrumental]
- Darbikli (Spiel Darabukka)
- Hazzaatik Aah! (Dein Tanz Aah!) [Instrumental]
- Tamrik Tayyeb (Deine Datteln Schmecken Gut) [Instrumental]
- Raska Gamila (Ein Sch Tanz) [Instrumental]
- Oudi La Oudi (Komm Zur Meinem Oud) [Instrumental]
- Habbouba (Liebling) [Instrumental]
- Khallina Nikhwat (Lass Uns Verrerden)
Tracks:
- Bismi Allah -
- Aloua
- Samaoui -
- Siri Maah
- Kaftanek Mahloul
- Bent Bladi
- Noudi Daih
- Moulay Tahar
- Amara de l'Aroussa
- Dada Hayani
Tracks:
- Yalla a Beirut (Auf Nacht Beirut) [Instrumental]
- Amira Inti (Eine Prinzessin Bist Du) [Instrumental]
- Douna Hilwa (Eine SchWelt) [Instrumental]
- Farha Wa Tarha (Freude und Brautkleid) [Instrumental]
- Hanouni (Warmherzig) [Instrumental]
- Samia (Samia)
- Ajab (Wunder) [Instrumental]
- Almaas (Diamanten) [Instrumental]
- Houbbl el Kibiir (Meine Grosse Liebe) [Instrumental]
- Khasrik Khawatni (Deine Taille Hat Mich Verremacht) ...
- Sahara Min Dahab (Sahara Aus Gold) [Instrumental]
- Mounira (Mounira) [Instrumental]
Customer Reviews:
Not the best!.......2007-04-08
Don't be fooled.......2006-12-18
I expected there would be tribal music on the CDs but its all traditional Middle Eastern songs. I love the traditional Middle Eastern music, that's what the band I'm in plays but I bought these CDs for Christmas presents and wanted more of a house music CD. I thought with Rachel on the cover it would have a more of an East meets West feel to the tracks. I was hoping they would have a more modern re-mixed with beats thrown in.
What a sleazy thing for a music company to do, all in hope that people like me would buy it just because she's on the cover.
Mostly instrumental, unobtrusive.......2006-12-17
Pros: For those performers who must dance in venues that do not allow singing in the music, these instrumental tracks suit the purpose. The music is not very lively, which some restaurant owners prefer for the dancer to use. In this case, perfect. Also, there are 3 CD's of music to choose from, and recognizable standards.
Cons: My first downside though is the image on the cover. This is an older stock image of Rachel Brice, and for fusion dancers, if you do not see the track listing, it may be misleading, for the music is Egyptian. On the content level, the CD's do blend after a while. There is not a lot of passion in the music, it is at a fairly steady moderate tempo, and due to it being the same musician for many of it, it seems to merge together.
As another reviewer said, it is great for background music, or for those who dance in a restaurant that wants hushed versions of instrumental classics, but if it's variety you're looking for, I'd recommend the Belly Dance Super Stars and Desert Roses CD's for all your classics with kick, and some new favorites.
Very average.......2006-12-13
Average customer rating:
|
Vaughan Williams, The Complete Symphonies
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Ballets
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ASIN: B00004YA0V Release Date: 2000-11-07 |
Tracks:
- I: A Song For All Seas, All Ships - London Philharmonic Choir
- II: On The Beach At Night, Alone - London Philharmonic Choir
- III: Scherzo: The Waves - London Philharmonic Choir
- IV: The Explorers - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
- Symphony (Symphony No.1) - London Philharmonic Choir
Tracks:
- Fantasia On A Theme By Thomas Tallis - London Philharmonic Orchestra
- I: Lento - Allegro Risoluto - London Philharmonic Orchestra
- II: Lento - London Philharmonic Orchestra
- III: Scherzo (Nocturne): Allegro Vivace - London Philharmonic Orchestra
- IV: Andante Con Moto - Maestoso Alla Marcia - London Philharmonic Orchestra
Tracks:
- I: Molto Moderato - Margaret Price
- II: Lento Moderato - Margaret Price
- III: Moderato Pesante - Margaret Price
- IV: Lento - Margaret Price
- I: Preludio: Moderato - London Philharmonic Orchestra
- II: Scherzo: Presto - London Philharmonic Orchestra
- III: Romanza: Lento - London Philharmonic Orchestra
- IV: Passacaglia: Moderato - London Philharmonic Orchestra
Tracks:
- I: Allegro - New Philharmonia Orchestra
- II: Andante Moderato - New Philharmonia Orchestra
- III: Scherzo: Allegro Molto - New Philharmonia Orchestra
- IV: Finale Con Epilogo Fugato: Allegro Molto - New Philharmonia Orchestra
- I: Allegro - New Philharmonia Orchestra
- II: Moderato - New Philharmonia Orchestra
- III: Scherzo: Allegro Vivace - New Philharmonia Orchestra
- IV: Epilogue: Moderato - New Philharmonia Orchestra
Tracks:
- I: Prelude: Andante Maestoso - London Philharmonic Choir
- II: Scherzo: Moderato - London Philharmonic Choir
- III: Landscape: Lento - London Philharmonic Choir
- IV: Intermezzo: Andante Sostenuto - London Philharmonic Choir
- V: Epilogue: Alla Marcia - London Philharmonic Choir
- I: Overture - London Philharmonic Orchestra
- II: Entr'acte - London Philharmonic Orchestra
- III: March Past Of The Kitchen Utensils - London Philharmonic Orchestra
- IV: Entr'acte - London Philharmonic Orchestra
- V: Ballet And Final Tableau - London Philharmonic Orchestra
Tracks:
- I: Fantasia (Variazioni Senza Tema) - London Philharmonic Orchestra
- II: Scherzo Alla Marcia - London Philharmonic Orchestra
- III: Cavatina - London Philharmonic Orchestra
- IV: Toccata - London Philharmonic Orchestra
- I: Moderato Maestoso - London Philharmonic Orchestra
- II: Andante Sostenuto - London Philharmonic Orchestra
- III: Scherzo: Allegro Pesante - London Philharmonic Orchestra
- IV: Andante Tranquillo - London Philharmonic Orchestra
Tracks:
- Serenade To Music - Norma Burrowes
- In The Fen Country - New Philharmonia Orchestra
- The Lark Ascending - Hugh Bean
- Norfolk Rhapsody No.1 - New Philharmonia Orchestra
- English Folk Song Suite - London Symphony Orchestra
- Fantasia On 'Greensleeves' - London Symphony Orchestra
- Untitled - London Symphony Orchestra
- Untitled - London Symphony Orchestra
Tracks:
- I: Toccata: Allegro Moderato - Victor Babin
- II: Romanza: Lento - Victor Babin
- III: Fuga Chromatica (Allegro) Con - Victor Babin
- Finale Alla Tedesca - Victor Babin
- Introduction - London Symphony Orchestra
- Sarabande Of The Sons Of God - London Symphony Orchestra
- Satan's Dance Of Triumph - London Symphony Orchestra
- Minuet Of The Sons Of Job And Their Wives - London Symphony Orchestra
- Job's Dream - London Symphony Orchestra
- Dream Of The Three Messengers - London Symphony Orchestra
- Dance Of Job's Comforters - London Symphony Orchestra
- Elihu's Dance Of Youth And Beauty - London Symphony Orchestra
- Pavane Of The Sons Of The Morning - London Symphony Orchestra
- Galliard Of The Sons Of The Morning - London Symphony Orchestra
- Altar Dance - London Symphony Orchestra
- Epilogue - London Symphony Orchestra
Amazon.com
Adrian Boult's credentials in this repertoire are unassailable, and to have nearly all his stereo Vaughan Williams recordings for EMI so elegantly packaged and enticingly priced will be incentive enough for many a prospective purchaser. There's much to treasure here, not least those gently perceptive accounts of the first three symphonies, as well as the Fifth and the Ninth. All the same, the fires burned more brightly on Boult's earlier mono cycle for Decca, and there's some oddly listless orchestral playing to contend with in both the Sinfonia Antarctica and the Eighth, especially. The Fourth and Sixth, too, find the New Philharmonia in less than ideally tidy form. The disc of shorter orchestral items and the gorgeous Serenade to Music offer mostly unbridled pleasure (with Hugh Bean a memorably serene soloist in The Lark Ascending), as does Boult's fourth and final recording of Job, though here, too, tension levels are markedly lower than on either of his mono versions. No matter, for all its ups and downs, the present anthology undoubtedly offers fine value for the money. --Andrew AchenbachCustomer Reviews:
BEST COMPLETE SURVEY.......2006-07-14
Even he has a substantial rival in his earlier self on Decca, conducted under the gaze of the composer who delivers a touching speech of thanks to the players at the end of the pianissimo finale of the Sixth Symphony. This earlier Decca version probably has the edge for urgency and thrust in the quicker movements, but the sound on these later discs benefits enormously from the full warm stereo production typical of EMI in the 70's and also benefits from Sir Adrian's lifetime experience of these works.
In many ways, it is the earlier symphonies that come off best in this series. A wonderfully full-blooded Sea Symphony with a finely disciplined chorus, excellent soloists in John Carol Case and Sheila Armstrong (though she can't eclipse the magical Isobel Baillie in the older Boult set), and a rich Kingsway Hall acoustic get the set off to a fine start. The London Symphony was always special with Boult: he managed to achieve an ideal balance of symphonic thought with the touches of Edwardian period colour. The jingles of the hansom cab in the London fog and the cries of the street vendors come off particularly well here. But don't ignore Hickox's magnificent recording of the substantially longer original version. The Pastoral, too, is beautifully sustained in Boult's hands: the succession of slow, mostly quiet movements always glows with Pastoral intensity for him. Maybe his disciple, Vernon Handley, penetrates deeper into the dark echoes of the composer's experiences as an ambulance driver in the Great War.
The Fourth - "I don't know if I like it, but it's what I meant," in VW's famous quote - is full of barely restrained power, but perhaps would benefit from a bit more urgency at times. The Fifth, arguably the most symphonic of all the symphonies despite the Pilgrim's Progress origins of much of its material, gets an authentically profound performance with the LPO. Maybe we are closer to the Pilgrim origins here than to the symphonic arguments behind their transformations. There is serious competition in this symphony from Barbirolli (his 1st recording), from Haitink and from Handley. Haitink is the most 'symphonic', Barbirolli the most impassioned, Handley probably the most balanced.
The Sixth is fine, suitably violent and desolate by turns, but doesn't quite match Boult's blistering earlier recording. The Antarctica is curiously lack-lustre here - Haitink's is the revelatory performance of this symphony. The Eighth has always seemed to be the special domain of its dedicatee, Barbirolli, who had the key to unlocking its mixture of wild and wonderful orchestration (including "all the 'phones and 'spiels known to the composer") with cryptic symphonic argument. The enigmatic Ninth seems to elude most conductors, including Boult here. Handley comes closest to revealing its dark Hardyesque mysteries.
There are two additional discs of extra stuff, all beautifully played. Specially noteworthy are a Serenade to Music that comes close to matching Henry Wood's original line-up of soloists, Hugh Bean as a magically carolling Lark Ascending, a real rarity in the Double Piano Concerto and a great Job, perhaps the VW work closest to Boult's heart.
This set is excellent value for money and, for a complete collection of the symphonies, probably the best all-round recommendation - though Tod Handley runs it pretty close. Maybe the bonus items tip the balance Boult's way.
Still the Best.......2006-03-20
Vaughan Williams is one of the finest symphonists ever -- a thorough-going craftsman -- whose music connects the English countryside of a hundred years ago to the agonies of war and uproar of the century just past. People will be listening to this music long after the academics have come and gone; and this recording will still be the benchmark.
As good as anyone needs--this isn't Beethoven.......2005-11-01
Of the British crop, the only works that cross the Atlantic with any frequency are Elgar Sym. #1, Walton Sym. #1, and a handful of the Vaughan Williams nine. Boult's second set of the VW symphonies, in stereo for EMI as opposed to mono for Decca, is all anybody really needs. Some of the performances have been bettered individually--one thinks of Handley's VW First, Bernstein's Fourth, Barbirolli's Second, Stokowski's Fourth and Sixth--but these symphonies aren't masterpieces. Boult has a fine orchestra in the London Phil. and good analog sound from EMI; his readings are dramatic and interesting, if not always deep.
If this were a Beethoven cycle, I'd want three or four alternative sets. Here it's not necessary. You can own all of VW's symphonic output and be assured that each reading is good enough to do justice to the music. Of course, this won't stop British enthusiasts, but for Americans time might be better spent uncovering the shamefully neglected symphonic past--and present--of our native composers.
Consider Supplementing This Core Set .......2005-02-23
#1. I won't mince words here: This Sea Symphony is absolutely dazzling, the finest I have ever heard. Boult I was also pretty extraordinary, but Boult II's superb stereo sound and slightly stronger vocal line-up make it a clear first choice.
#2. Boult I is a more energetic performance than Boult II. Sonically, however, Boult II offers a far more vivid listening experience. I am also rather fond of Barbirolli's first recording (on Dutton, paired with his magnificent 8th). My favorite "live" 2nd is a superb Malcolm Sargent reading, available only in an expensive 10-disc set from the Chicago Symphony. That set is well worth owning: it also contains what I feel are the finest-ever recordings of three great Third Symphonies (Mahler's, Prokofiev's and Roussel's), in readings by (respectively) Martinon, Kondrashin and Munch.
#3. Boult II is my favorite here, just ahead of Previn (RCA).
#4. Boult II simply lacks the incredible rhythmic snap and commitment of Boult I, which is my favorite account along with the Stokowski (Cala) and the composer himself (Dutton, paired with Barbirolli's fine 5th). In V W's own reading, the influence of the composer's contemporaries (especially Honegger, Janacek and Roussel) sounds more noticeable than in any other recording.
#5. Boult I and II are both excellent. Despite II's better sound, I think I prefer I's greater exuberance (especially in the 2nd mvt.) Likewise, I am very fond of both Barbirolli readings (Dutton and EMI), but retain a slight preference for the mono Dutton (which also has V W's own hell-for-leather rendition of the 4th).
#6. Boult I is far better than the slightly soggy Boult II: the former is my favorite performance of the work, despite the mono sound. At the end is a touching little speech given by the composer, in which he thanks Boult and the orchestra for their incredible pianissimo playing in the Epilogue: Indispensable. In stereo, the inexpensive Bakels (Naxos) is excellent.
#7. It's almost a toss-up here, but Boult II ultimately wins out on the basis of sound. But Boult I is no sonic slouch, and Sir John Gielgud's stately narration is a handsome dividend.
#8. Here I feel that, while Boult II is clearly superior to Boult I, neither comes even close to matching the classic first studio recording by Barbirolli, to whom the work is dedicated. The latter is coupled on Dutton with Barbirolli's fine #2 (both in stereo). Barbirolli's studio effort is FAR better played than his live 8th on BBC Legends.
#9. Boult I, this time in clear stereo sound (licensed from Everest), is in every way superior to Boult II, which is curiously detached. Unfortunately, the excellent "Job: A Masque for Dancing" that was Everest's discmate has not been retained. That's a pity: nobody ever did it better, although the Boult II is very satisfying.
All of the smaller works included on Boult II (the Boult I set has just the 9 symphonies) receive fine performances. Especially noteworthy is the Serenade to Music: it even eclipses the classic first-ever recording by Sir Henry Wood (on Dutton). In the Tallis Variations, there are wonderful versions worth hearing from Silvestri (EMI), Stokowski (Bridge) and Barbirolli (EMI). Silvestri also recorded a superlative Wasps (EMI).
If recorded sound is your uppermost concern, then Boult II will prove the more satisfying. But if you want to hear Boult's V W interpretations at their finest, then owning both sets becomes essential.
What's the hurry to have 'em all?.......2003-09-24
Bob Rixon
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Arturo Benedetti Michelangeli - Piano Concertos and Works
Manufacturer: Hommage Records ProductGroup: Music Binding: Audio CD Character Pieces
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ASIN: B00000IKTU Release Date: 1999-04-27 |
Tracks:
- Refletes Dans L'eau Da 'Images'
- Images, Serie I: Reflets Dans L'eau
- Images, Serie I: Hommage A Rameau
- Images, Serie I: Mvt
- Images, Serie II: Cloches A Travers Les Feuilles
- Images, Serie II: Et La Lune Descend Sur Le Temple Qui Fut
- Images, Serie II: Poissons D'or
- 2 Prld: Canope
- 2 Prld: Bruyeres
- Children's Corner: Doctor Gradus And Parnassum
- Children's Corner: Jimbo's Lullaby
- Children's Corner: Ser For The Doll
- Children's Corner: The Snow Is Dancing
- Children's Corner: The Little Shepherd
- Children's Corner: Golliwog's Cake-Walk
Tracks:
- Con in a, Op.54: Intermezzo (Andante Grazioso)
- Con in a, Op.54: Allegro Vivace
- Con in a, Op.54: Allegro Affettuso, Andante Espressivo - Allegro, Allegro
- Con in D: Vivace
- Con in D: Un Poco Adagio
- Con in D: Rondo All 'Ungherese (Allegro Assai)
Tracks:
- Con No.1 in E flat: I. Allegro Maestoso
- Con No.1 in E flat: II. Quasi Adagio
- Con No.1 in E flat: III. Allegretto Vivace
- Con No.1 in E flat: IV. Allegro Animato
- Con No.1 in E flat: V. Allegro Marziale. Presto
- Con in a, Op.16: I. Allegro Molto Moderato (Frammento)
- Con in a, Op.16: I. Allegro Molto Moderato
- Con in a, Op.16: II. Adagio
- Con in a, Op.16: III. Allegro Moderato Moltomarcato
Tracks:
- Con No.1 in E flat: Allegro Maestoso
- Con No.1 in E flat: Quasi Adagio
- Con No.1 in E flat: Allegretto Vivace
- Con No.1 in E flat: Allegro Animato
- Con No.1 in E flat: Allegro Marziale - Presto
- Con in b: III. Allegro
- Con in a, Op.54: I. Allegro Affettuoso
- Con in a, Op.54: II. Intermezzo. Antantino Grazioso
- Con in a, Op.54: III. Allegro Vivace
Tracks:
- Con Italiano, BWV 971: I. Allegro
- Con Italiano, BWV 971: II. Andante
- Con Italiano, BWV 971: III. Presto
- Con No.5 in E flat, Op.73: Allegro Con Brio
- Con No.5 in E flat, Op.73: Andante Con Moto
- Con No.5 in E flat, Op.73: Allegro
- Con No.5 in E flat, Op.73: I. Allegro (Selezione)
Tracks:
- Con No.13 in C, K.415: Allegro
- Con No.13 in C, K.415: Andante
- Con No.13 in C, K.415: Allegro
- Con No.15 in B flat, K.450: Allegro
- Con No.15 in B flat, K.450: Andante
- Con No.15 in B flat, K.450: Allegro
Tracks:
- Con No.23 in A, K.488: Allegro
- Con No.23 in A, K.488: Adagio
- Con No.23 in A, K.488: Allegro Assai
- Con No.20 in A, K.466: Allegro
- Con No.20 in A, K.466: Romanza
- Con No.20 in A, K.466: Rondo - Allegro Assai
Tracks:
- Son No.3 in C, Op.2, No.3: I. Allegretto Con Brio
- Son No.3 in C, Op.2, No.3: II. Adagio
- Son No.3 in C, Op.2, No.3: III. Scherzo
- Son No.3 in C, Op.2, No.3: IV. Allegro Assai
- Lyric Piece, Op.47, No.5 'Melancolie'
- Lyric Piece, Op.68, No.5 'Au Berceau'
- Lyric Piece, Op.43, No.5 'Erotik'
- Son in d, Kk.9
- Son in c, Kk.11
- Son in b, Kk.27
- Son in D, Kk.96
Tracks:
- Danza Espanola No.5 'Andaluza'
- Mazurca in b, Op.33, No.4
- Berceuse in D flat, Op.57
- Mazurca No.47 in a, Op.68 No.2
- Valzer in A flat, Op.69 No.1
- Cancons I Danses
- Ballata in g, Op.23
- Valzer in A flat, Op.69 No.1
- Valzer Brillante in A flat, Op.34 No.1
- Valzer (Opr Postuma)
- Mazurca in a, Op.68 No.2
- Mazurca in b, Op.33 No.4
- Mazurca in D flat, Op.30 No.3
Tracks:
- Rumores De La Caleta No.8 (Recuerdos De Viaje)
- Allegro
- Presto in B flat
- Scherzo No.2 in b flat, Op.31
- Fant
- Scherzo in b flat, Op.31
- Fant in f, Op.49
Customer Reviews:
Michelangeli is the man.......2000-05-22
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The Dancing Box
James T. Cotton Manufacturer: Spectral Sound ProductGroup: Music Binding: Audio CD General
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ASIN: B00024I2UY Release Date: 2004-07-27 |
Tracks:
- Press Your Body
- Drain
- Long Way Down
- Distant Trip
- Blood Red
- That's How I Like It (Illusions)
- Buck!
- Lojack, Pt. 4
- Saavy
- H.D.E.K.
- We Still Expect Freedom
- Dancing Box
Album Description
The debut longplayer for JAMES COTTON (aka DABRYE, SK-1, & his real name TADD MULLINIX). Dancing Box pays tribute to classic Chicago acid and leftfield Detroit techno, all the while flowing like an album which can exist outside of the dancefloor. A stunning effort, and meticulously packaged.Album Review:
- Trust the DJ: DS01 [Import]
- Ultimate Trance 4cd Box Set [Import]
- Upload: A Continuous Mix By DJ Soul Slinger
- Waiting [CD-single] [Import]
- We Are Not the Beatles
- What's Going on [CD-single] [Import]
- Without You [CD-single] [Import]
- You Got What It Takes
- Your Lounge Your Music, Vol. 4 [Import]
- All the Way, All the Time
Album Review