| 1. Bigga's Rock |
| 2. Tell Me |
| 3. P.O.P. |
| 4. Usable |
| 5. The Light |
| 6. Freedom |
| 7. Boardwalk Interlude |
| 8. Armageddon |
| 9. Alive |
| 10. Bogie |
| 11. Big Brother |
| 12. No Turnin Back |
| 13. Feelin Fine |
| 14. Church Interlude |
| 15. Know Your God |
| 16. Hollywood |
Editorial Reviews
About the Artist
In the past few years the taste of today’s music lover has broadened, where rockers are now listening to everything from Nas to Carlos Santana and hip hoppers are sampling everything from Metallica to The Dave Matthews Band. With this in mind, individuals from completely different backgrounds, came together to create the only band thus far with the ability to satisfy them all. Seed Is . . . has created an original musical arsenal that encompasses the full spectrum of musical tastes. Some might say, Isn’t it hard to categorize a band that displays so many musical styles so well?, but if you ask any "Seedling" their response would simply be, "Why do you need to? It’s all good . . ."
"Music for the Masses" is the band's most accomplished album without a doubt. When they recorded it, they were already entrenched into the dark synth-based sound that would characterize the second half of their career, away from the more catchy pop songs that were the norm in their music early on.
Every track in the album is a piece of art that collectively make the whole production sound as current and powerful at the time of this writing as it did twenty years ago, when it was released.
Things get a bit spottier from there, but I'm thinking you'll forgive.
I am especially fond of such unusual tracks as the Aggro remix of the album's opening track; a very different interpretation of essentially the same song, both more hard driving and darker. This remix still stands as one of my most favorite 'hard' electronic songs of all time, and convinced more than a few of my hair metal buddies that Depeche Mode was absolutely NOT "sissy music".
"Music for the Masses" functioned as my personal soundtrack for much of the summer of 1989, and if I had to finger any single Depeche Mode album as being "The" Depeche Mode album, this would probably be it.
It's a pretty good tribute, as well. It's really interesting to hear Locust's (not to be confused with the noisecore group) interpretation of "Master and Servant." I never have thought of an S&M-themed song being played so mellow and playful. I really liked Failure's take on "Enjoy the Silence" and the one track I had always been familiar with was the Pumpkins' take on "Never Let Me Down Again." It's surprising that they play that one clean, especially being a B-side of the distortion-happy "Siamese Dream" era. Basically, the first five tracks are my favorites. It is more hit than miss.
There are a couple points that don't really do it for me. "Monument" was never really a favorite of mine to begin with, and I don't care for the remake, either. I wish Monster Magnet would've embraced their style a little bit more on "Black Celebration" as well.
Overall, if you like '90s electronic and alternative music, I recommend this. You'll respect it even if you don't enjoy it. Totally worth getting.
It's the lyrics that sell it. These are solid songs, but the fact is the covers are quite simply better than the originals.
The songs that stand out first are the Rammstein cover Stripped, which originally appeared as a bonus track on the album Sehnsucht, and the band Failure whose cover of Enjoy The Silence was a hit on Top 40 during the summer of 1998, but these are not the only good songs on this album.
Others I highly recommend to any potential purchaser of this album include the song Shake The Disease, covered by the band Hooverphonic. Geike Arnaert's delivery on the chorus of the song is way more powerful, to my ears, than the delivery of DM's lead singer Dave Gahan..
Here is a plea
From my heart to you
Nobody knows me
As well as you do
You know how hard it is for me
To shake the disease
That takes hold of my tongue
In situations like these
The melody is not changed much from the 80s techno the original band is known for, but the Belgian band with it's young female lead singer packs the song with more emotion.
Another selling point is the cover of the song Policy of Truth done here by the band Dishwalla, best known for the line from their one hit Counting Blue Cars, "Tell me all your thoughts on God / Cause I'm on my to see Her." Again, the lyrics are better served by another style of music, in this case rock, as opposed to 80s style techno.
Its just time to pay the price
For not listening to advice
And deciding in your youth
On the policy of truth
This album is truly a must have for people who like diamonds in that rough known as the pop music section.
Other Good Tribute Albums: Songs From A Material World (George Harrison tribute), Kindred Sprits (Johnny Cash tribute) and Killer Queen (Queen tribute).
I just bought this album in San Francisco (July 2006) some 8 years after it first came out.
As a long time fan of Depeche Mode who has admittedly not paid them very much attention in recent years I can honestly say that I have been reminded why I used to love them so much. Depeche Mode are bl**dy fantastic and this collection of tributes while not being universally wonderful is well worth a listen. As many people will not have heard this release I really wanted to review it. There are some turkeys and some Xmas crackers and be warned that I get a bit cross about the turkeys. Afterall, this is Depeche Mode we are talking about!
The album kicks off with Never Let Me Down Again by the Smashing Pumpkins. If you asked most fans what their 3 favourite DM tunes were, chances are that this is one of them. It's a defining anthem and it truly rocks. The fans know how good it is. We've all been to the concerts and we've all sung our hearts out. Well.... Wait till you hear what the `Smashing F**kwits' have done to it. It is hard to find the words to describe how wide of the mark they are in trying to capture the essence of NLMDA. I mean if you were going to try and do it any justice at all you might have a stab at keeping some of the power, emotional intensity and sheer b*ll**ks of the original. But no.... I don't know anything about the Smashing Turnips or their own music but it is my best guess from this effort that they basically get stoned, jam for a bit in an ineffectual way, put some p**s weak whiny vocals down, pop to the all night garage for some more skins, finish off the Stellas, and call it a day. I now know why I have never noticed anything the Smashing Numpties have ever done. (0 out of 10) Lets move on, as it gets a lot better from here.
Next up, Fly on the Windscreen cruises into town with laid back funky beats and some interesting vocal harmonies which present the tension in the song in a new way. You can nod your head to this more than the original and the dark undercurrents are maintined behind the slick groove. The vocals are more musical than DGs and they really work. It's cool and different. A big thumbs up to God Lives Underwater. There's nothing wrong with taking a song in a different direction, as long as you have one. (Smashing Wasters take note) (8 out of 10)
Enjoy The Silence by Failure doesn't deviate too much from DMs' first version apart from in the obvious, in that the guitars are in and the synths are largely out. The intro is delicate, the chorus thumps and the voice of Failures' singer (whose name I am shamefully ignorant of) resonates nicely while lacking DGs power. They've messed a bit with some of the melody in an acceptably pleasing way and it is quite ... well, enjoyable, without capturing the heartfelt passion of the original. So.. a modest success. (7 out of 10)
Now the Cure have got their work cut out here, as World In My Eyes is a bit of a personal favourite. The consumate Kraftwerk feel is gone but Robert Smith maintains the angst and delivers a very listenable performance. They've been a bit lazy on the drum programming, just using one loop with no real variation but the guitar riffs and howls are good which I guess is their forte. It's quite catchy and if anything a bit more accessible than the original. Rather lost its edge but overall not a bad effort. (7 out of 10)
Enter Dishwalla, who grind out a full throttle take on Policy Of Truth with a certain amount of welly and lots of guitar. It builds nicely throughout and ends with all guns blazing. The vocals are great and the finale sees a very musical deviation that powers it's way up to a blistering climax. How cool?.... Very. For me this is way better than the original, which I always used to find a bit dull. Can't wait to put this on in the car. Go Dishwalla!
(10 out of 10)
Somebody is presented by Veruca Salt and it gets a passionate workout here. The rhodes piano and cello really work, vocals are very genuine and you can get lost in this version the same way you get lost when Martin sings it. A beautifully constructed copy of one of DMs best ballads. (8 out of 10)
Everything Counts by Meat Beat Manifesto is a bit of let down. It's a little hard to see where the creativity went. It didn't go into the drum programming which while being marginally better than the Cures' is a bit pedestrian. Aside from trotting out the main melody, they don't really offer anything on the melodic front either which kind of just leaves noises. I didn't like their noises. Oh yes .. the vocals. A bit pants as well. (1 out of 10)
Shake The Disease has a really sparse electronic feel to it with silky vocals, both courtesy of Hooverphonic. It's a very simple cover but astoundingly beautiful and totally captures the repetitive hypnotic drive of DMs version. Go Hooverphonic! (9 out of 10)
Locust's Master And Servant has a surreal The Devine Comedy meets light jazz feel to it which puts it just above elevator muzak. This makes it slightly interesting. (2 out of 10)
I guess Shame is a surprise choice for a cover but hey why not. Selfs' version is quite catchy, in yer face and fun. Not worthy of great praise but neither was the original. (5 out of 10)
With Black Celebration we are back in anthem territory. Monster Magnet throw a lot of energy into this and I really wish they hadn't. If you are going to mess with people's melody you better do it good. i.e Compliment the original. Draw it out and reframe it. Add something. Bring something to the party goddamnit! Or as MM see it... crash the party, nick the beer, p**s all over the place and do a runner. (0 out of 10)
Waiting For The Night To Fall by Rabbit In The Moon starts with sparse beats that pick up into light drum and bass (without the bass). The vocal is a bit karaoke and the whole thing goes on for way too long. (7 minutes 34 seconds too long) (1 out of 10)
Appollo 440 take on I Feel You and the result appears to be a draw. The vocals don't really stand up to DGs but there is an energentic feel to the proceedings with some lively samples thrown in to the mix. It's OK (5 out of 10)
Gus Gus cover Monument which is an interesting choice. It's been given a far more up to date feel here while maintaining the sparse simplicity and brooding atmosphere of the original. The production is nice but the vocals are a little bit too bronski beat for my liking. Not a turkey and not a craker. (6 out of 10)
Deftones crank it up for To Have And To Hold and make a reasonable fist of it. The vocals don't quite reach the same sharp edged menace that DG gives it but the rest is all there. Screaching guitar solos and smash it all up finale. Pretty good (7 out of 10)
Finally we have Rammstein's Stripped which is completely awful. But let let's leave that to one side for a moment and deal with something else. It's funny as f**k. The vocal comes across as Rocky Horror Show meets Lordi (of recent EuroVision fame). This is all backed up by wannabe death metal come eurobeat. Whether they approached this cover seriously or not I don't know. I am confused and amused by it. Which is a shame as I'd really like to hear somebody have a proper crack at it. (no idea what mark out of 10 this gets ... probably about 4 for being weird)
For fans who want to hear a different take on their favourite band I thoroughly recommend this collection. Half of it is indeed rubbish but that's what CD rippers and MP3 players are for. If you haven't listened to your old DM albums in a while, this will ensure that you rediscover them. While you're at it get the remastered CDs in 5.1 surround sound. They're great.
Chris Danson. Ashford. Middlesex
Mozart's sixteen completed Mass settings all date from before 1781, the year in which he quit his native Salzburg to try his luck as a freelance composer in Vienna. While it is true that little sacred music dates from the time of Mozart's greatest maturity, the best work of his teens and early twenties show him deploying his easy skills in counterpoint and fluid vocal melody to produce music of elegance and charm,which, while not greatly radical, nevertheless married his strengths successfully to the accepted Austrian church idiom of the day.
Since the city of Salzburg had a long tradition of church music, generally with a brass-heavy orchestral accompaniment, Mozart retained this sound in his Masses, with their trumpets and trombones, and in the case of the 'Coronation' Mass,horns as well.
Mozart's earliest Mass, the so-called 'Waisenhaus-Messe', was not in fact composed for Salzburg but for Vienna intended for the dedication of a new orphanage church.
The 'Missa Trinitas' was composed five years later in Salzburg for the Feast of the Holy Trinity in June 1773.
When Mozart wrote the C major 'Credo' Mass in November, 1776, it was in a lively and cheerful vein and quickly became very popular thruout the Salzburg region.
The two Masses K317 and K337, both again in C major,were written for the Easter celebrations of 1779 and 1790, respectively, and they show a rising maturity. The K317 'Coronation' Mass was performed in Vienna during the celebrations for the coronation of Emperor Leopold in 1790.
Whenever I see the name Stephen Cleobury and the Choir of KIng's College, I know I've got a quality production!..And this is no exception. The wonderful tuneful voices of the boy sopranos and male altos add so much to the sound of Mozart as well as any other early composer, The soloists, however, were brought in for this disc, and are not members of the choir. They are: Margaret Marshal(soprano)-Ann Murray (contralto)-Rogers Covey-Crump (tenor)-David Wilson-Johnson (bass)-Suzanne Mentzer (soprano)-Bernadette di Nissa (contralto)-Neil Mackie (tenor) and Stephen Roberts (bass). THERE WERE NO COUNTERTENORS SINGING SOLO PARTS.
Two very finely performed recordings.
However, it was a good quality recording for the price and was helpful in learning my part for the choral sections as well.
Hearing this album again proves that giving it a second chance was well worth my time. The sound of many bands from the 80s has aged poorly; one can often almost pin point which year such and such album was released given the production sound that was currently in vogue. MFTM has, however, a timeless production. This could actually be released today and by tagging another artist name to the music this could most certainly appeal to today's masses. The songs are built upon minimalist sound bites and layered with various sound effects. This may have sounded bleak in the mid 80s but today this sounds remarkably fresh.
Listening to the album in 5.1 surround sound gives even more value to the production. The low-key beats driving the songs flow in a perfect tandem with the instruments flowing all around the listener. Actually, I hardly bother listening to this any other way.
Also included is a very interesting documentary about the making of the album, the making of its cover and the subsequent promotional tour. A highlight is the final concert which certainly put them on the map in the US. One senses how much pride DM still feel of MFTM.
I have one final note. Having bought other DM re-releases from the US, I initially simply forgot that the CD version from the UK is a hybrid SACD. I thus listened first to the dts surround sound the first few times, and was impressed. Yet once I put the SACD it felt like the sound improved almost half way to the difference of re-mastered versions of other CDs today from initial pressing 20 years or so ago. The difference is subtle but definitely audible. This should not be happening today. I intend to buy the more expensive DM re-releases from the UK and dump the US versions.
Gosh, it seems to listened to new a thing. I was so used to listen to this record with the originally hoarse sound. Like if you put your speakers facing to the floor. But now it's so clean so when you listen to it new sounds come up like if they never have been there before.
Such a nice experience. Sit in middle of those 5 speakers and you won't regret it.
There is only one thing I would have change. I now the originally lp press came out without the bonus tracks but, since everybody is used to the cd version, they should have put the whole tracks together and not separated, so in order to play them you have to get into a new menu.
Enjoy it while it last.
purchased this pricey deluxe edition only to find
the last four songs have been removed from the CD.
Not ending with Pleasure Little Treasure makes the
whole nostalgic vaunt all vapid and hollow.
Disc 2 contains the catchier more enjoyable tracks
from the singles along with what I call the missing
tracks although some would argue. Alas they can only
be played on a DVD player not a car stereo. Kind of a
worthless novelty albeit deliberate.
This is one of the rare times that Rhino began with the best of intentions, then just executed terribly. Here's how Rhino blew it on the entire Depeche Mode multi-title CD/DVD remaster series:
1.) The remastering is heartbreakingly sub-par. I'll get to that.
2.) They relegated the great bonus audio tracks & remixes to the DVD.
3.) The 5.1 mixes and the video clips should have been released on dedicated DVD editions.
Let's start with the remastering.
You (real) DM fans who have all the Singles Boxes; go to Box #4, pull out the "Behind The Wheel" disc, and cue up the "album version". Now, compare it to the "remastered" Masses track... BIG DIFFERENCE, huh? The Masses version has greatly diminished clarity, like a heavy towel had been draped over the speakers. Forward the playback to 2:10 on each track, when all the instrumentation and vocals have finally kicked in, and listen. You'll understand the audio dichotomy I'm describing is not trivial.
Yes, the remastered audio on the CD in the new Masses set is better than the original 1987 single-disc CD release. But, after you perform the A/B test described above, you know the audio is not what it COULD have been, and probably now, never will be. That's a bitter pill to have to swallow for the Depeche fan, especially after laying out $20+ for this set.
I've also A/B'd tracks from all five of the Rhino 2006 sets against their respective Singles-Box counterpart. I found the same sub-standard remastering. What a terrible disappointment.
Let's move on to the DVD included in each set, and the decision to locate the remix and additional audio tracks there rather than the CD.
Simply: CD audio BELONGS in dedicated CD format. Multi-Channel audio/video BELONG in dedicated multi-channel formats. No matter what the marketing morons say, mixing the two plays to such a small portion of the market, it's just idiotic. In the case of the DVD's in the DM/Rhino sets, here are two perfect examples why:
How many DM fans don't have home surround sound systems, or DVD-capable units in their cars, and are ridiculously limited to listening to the bonus audio material on their home DVD player thru their television? How many DM fans don't appreciate not being able to Fair Use the DVD audio tracks on their portable audio devices?
Also, the DVD in each set consists of three components: A 30-minute video documentary, the 5.1 mix of the album, and the bonus tracks/remixes. Say you don't have a surround system and can't utilize the 5.1 album. So, ask yourself: How many times will you want to repeat the video? How many times would you like to listen to those great bonus tracks? I doubt many people would answer to a 1:1 ratio between the two! Me? Probably 1:100+!
Rhino should have followed their own Elvis Costello remaster-series model, and produced each of these albums as a two disc, standard CD-audio set. Then, Rhino could have released the multi-channel and video content as separate DVD retail versions, for those who desire to purchase, and are equipped to play them.
At the very least, however, Rhino seems to have learned its lesson from the Talking Heads Dual-Disc remaster-series fiasco and eschewed the horrid DD format for the Depeche releases (go to any TH DD-title on Amazon and scan thru the reviews if you want to read some REALLY p'd-off consumers, including myself!).
As an aside: I also checked the recent UK single-disc remasters against the Rhino CD's. As another reviewer noted below, the audio is identical to both versions.
The performance is good, probably not the best though. The singers seem to really over power the instruments. some times the instruments just seem a little small. There is some background noise just like on most recordings but it's nothing terrible.
I actually recommend the Brilliant Classics Schubert Masses. The sound quality is much better in that box set and it only costs a couple of dollars more.
Technically speaking these masses seem easy, but they surely rank among Franz Schubert's best works. They certainly constitute a very mature body of work, most part of which written by the great composer towards the end of his short but very prolific life. The choral part is not overly complex, and so is the orchestral one. To me the beauty of these works is in the interaction between choral, solos and orchestral sections. Sometimes a simple work can be magnificent.
I'm not a regular churchgoer, but just like another reviewer here at Amazon.com, I happened to attend a few masses in Stuttgart and Ludwigsburg, Germany, more than a decade ago. Masses in german and english, the softly spoken magic spell accompanied by Schubert's masses. What a blissful atmosphere! When I think about it, it's very difficult to describe that feeling now, but I guess "intimate" would be the word that comes closest to it.
Dunstable was a master of isorhythm, a technique that involved repetition of lengthy melodic and harmonic figures (sometimes in sync and sometimes in overlapping fashion). While isorhythm contributes to the compositional integrity of Dunstable's music, it's not readily discernible by modern ears. What's most apparent in the music of John Dunstable is the forceful delivery of a new style: the sweet harmony resulting from the use of parallel 3rd and 6th intervals. Dunstable's harmonic writing is not particularly disciplined: unprepared dissonances occur, sometimes in jarring fashion. But overall, a spirit of jubilation pervades Dunstable's work, which should impress modern listeners just as it did the European composers who heard it nearly six centuries ago.
Tonus Peregrinus, a vocal consort named for an ancient chant that Christ might have sung at the Last Supper, delivers an evocative performance of Dunstable's works. The group performs Dunstable's motets "Quam pulchra es" and "Veni Sancte Spiritus - Veni Creator", sandwiched around a collection of Mass movements. "Quam pulchra es" exhibits a stately, graceful quality later found in the works of Binchois, while the first "Sanctus" achieves an otherworldly beauty that may have influenced the motets of Dufay. The acoustics of this recording, captured in an echo-filled French abbey, create a sense of time and place that enhances the authenticity of the performance.
In 1476, music theorist Johannes Tinctoris remarked, "There is no composition written over forty years ago which is thought by the learned as worth of performance." Tinctoris' dismissal presumably included the works of Dunstable. Fortunately, Dunstable's music has survived Tinctoris' sentiment, and now awaits your discovery, courtesy of this fine recording.
England was not always `the land without music'. In particular, it seems that a sudden and spectacular leap in musical development occurred precisely there in the early 15th century, and, if we are to believe the musical historian of the time Tinctoris (cited by Pitts in his liner-note), the main driving-force behind this revolution was John Dunstable, whose innovations were picked up promptly by his contemporary Dufay and thereafter by Europe in general. My own knowledge of this period is deplorably patchy, but it is quite clear that by the 12th century the ecclesiastical tradition of monodic plainsong, believed to date from the 8th century, had not changed much, even at the hands of the frumious Hildegard of Bingen. There was a parallel secular tradition, probably more than one, but if the music of the troubadours during this same period is anything to go by it had primitive instrumental accompaniment for the voices, but nothing by way of genuine `harmony' much less polyphony or counterpoint.
Enter the English, Dunstable in the lead. Not a lot seems to be known about him except that he appears to have been associated with St Albans in Hertfordshire, where his name survives in the name of a town not far away, as does that of the author of Dunstable's epitaph and Abbot of St Albans Abbey John Wheathampstead. All this information is conveyed with admirable brevity in Pitts's notes, and I take it on faith entirely. Faith of another kind shows through his phraseology here and there, as in his dedication of the recording to `a God-fearing man' (not the kind of terminology one encounters much in England these days) and in his sniffy comment in his resume that he left the BBC in protest over its screening of `a blasphemous musical'. I would only remark that the BBC never actually broadcast anything by such a description, nor did the public in general realise that they were listening to such. At the musical level by and large the liner-note is awesomely learned but slightly heavy going. It is worth absorbing slowly, but the most significant thing it says is really its naïve proclamation of how marvellous the music is. This is the dawn of the elaborate harmonisation that makes European music, so far as I know, unique, and the thrill and sense of awe that go with that are enormous for one kind of listener at least.
If I understand Pitts aright, the various sections of the mass here - including 2 glorias, 3 credos and 2 settings of the sanctus - don't incorporate one specific `mass' although they approximately follow the order of the parts normally set to music: indeed if there were a single coherent mass in it what would be the point of such duplications? The way they have sequenced it all is appropriate to isolated settings, sensibly programmed so as to avoid having the same text in successive tracks. The recital starts with one motet and ends with another, followed by a gloria that `we' have completed from the restored but deficient MS. `We' have done just brilliantly if I may say so - this is what music-making is all about, but it needs the right level of talent. The performing artists consist of 2 sopranos, 1 female and 1 male alto, 3 tenors and a single bass. I have to take the historical authenticity of this, just as I have to take the tempi adopted, on faith once again. I believe the phrase is `It works for me'. What is beyond much question is the sheer quality of the singing, and what I want to sing my own praises of is the recording, which has a perfect sense of spaciousness together with perfect clarity.
I hope I will be believed when I say that I have no link of any kind with Naxos. I collect their discs because of what these are and because of what my tastes and standards in good music are. This particular disc is from this very year 2005, and the recording was done in Chancelade Abbey in the Dordogne. Over and above the learned inputs of Mr Pitts we are given brief resumes of all the performers, and all texts are provided with English translations. These latter are a great deal better than many I have seen in the last year or two. My suspicions having relaxed, I have been less hawk-eyed than sometimes, and I don't believe that there are any serious misrenderings. In the Veni Creator if the text is right at lines 11-12 the meaning must be `Thou duly enriching our mouths with the promised utterance of the Father'; 4 lines later `perpetim' is a simple misprint for `perpeti', but as usual the translator thinks `perpeti' is some kind of adjective. It is a prolative infinitive, and lines 15-16 therefore mean `Strengthening what in our bodies is weak so as to be steadfast through virtue'.
Go forth in droves at the Christmas season and acquire this disc.
Among Schubert's vocal works are many with religious texts, most intended for service use. The majority of these, including his first 5 Mass settings, were written for specific occasions and received performances soon after being completed, but this was not the case with his Sixth Mass, which lay unperformed until a year after his death.
In his settings of the mass, Schubert took Romantic liberties, omitting words, repeating words,or even entire paragraphs, thus treating the text not as unchangeable doctrine, but as a flexable libretto to be subservient to his artistic needs. His setting made significant omissions in the Gloria and Credo texts. Some sentences are omitted in all six of his masses, leading to speculation that he dissented from such teachings as the Church's divine authority.
The G major Mass was composed in 1815, and is simple and tuneful, direct and innocent in its idiom. He wrote it in 6 days; it is a small-scaled work accompanied by strings and organ.
The Mass in E-flat major is the product of that remarkable surge of new music that Schubert produced in his final year. Musically it has two aspects: it follows traditional practise in overall shape and construction. However, we encounter, in its harmonic language, Schubert, the Romantic ,using daring chromatic digressions and frankly pictorial writing with telling dramatic effect. This is basically a choral mass, and the soloists are used sparingly.
The performance of the soloists is excellent, and who but a Robert Shaw could bring out the best of the Chorus and Orchestra? Shaw was such a genius in the art of choral performance, but fortunately for us, he left much of his work behind on several recordings. While I enjoy both of these Masses, my preference still leans to the g major. probably because of its more traditional sound.
In the past few years the taste of today’s music lover has broadened, where rockers are now listening to everything from Nas to Carlos Santana and hip hoppers are sampling everything from Metallica to The Dave Matthews Band. With this in mind, individuals from completely different backgrounds, came together to create the only band thus far with the ability to satisfy them all. Seed Is . . . has created an original musical arsenal that encompasses the full spectrum of musical tastes. Some might say, Isn’t it hard to categorize a band that displays so many musical styles so well?, but if you ask any "Seedling" their response would simply be, "Why do you need to? It’s all good . . ."
Playing with the likes of James Brown, Steel Pulse, and the Dirty Dozen Brass Band, Seed Is . . . has always turned every diverse crowd into instant "Seedlings". Seed Is . . . has the ability, to make a man wearing a business suit loosen his tie and groove until he is shirt-less, to make a barefoot Phish fan flail around in circles to their heart’s content, to make b-boys take over the dance floor with old skool break dance battles, to make a tattooed rocker bang his head so hard he sprains his neck, or to make a raver reel to the effects of musical ecstacy.
After reviewing their debut CD entitled Seed Is . . . an local DJ exclaimed, "Damn, there are at least two good singles that can be released on every type of radio station in this market." That statement alone says it all about Seed Is. . . You can sell the most units and pack venues by being able to tap into every type of market, drawing fans from every ethnic, financial, and cultural background. Seed Is. . . has done this and will continue to in the future.
Seed Is. . .'s formula for musical success is it's ability to draw from the diverse backgrounds of all of it's members. The Seed Is. . . family consists of, soulful bassist and vocalist "Nikki" who conveys the soulful delivery of Nina Simone and raw emotion of Ani Difranco; folky funk vocalist "Alexis" whose delivery is a silken N'Dea Davenport, opera soul vocalist "Anwei" who is a downtown Katheleen Battle; conscious spoken word artist "Mike Peace" who possesses the timeless relevance of Gil Scott Heron and the skills of KRS One.. ; trumpet player "Big T" evokes the laid back nature of Miles Davis and the blazing hottness of Arturo Sandavol; the earthy guitarist and vocalist "Biggs" who is influenced by the likes of Chuck Brown and Peter Tosh; and finally the wild percussionist and drummer "Dawg Face" who is an extreme mixture of Tito Fuente's ethnicity coupled with Lars Ulrich's straight rock.
Product Description
Seed Is . . . has created an original musical arsenal that encompasses the full spectrum of musical tastes.
Music for the Masses,Seed Is . . .,Seed Is . . .,Funk-rock-jazz-fusion, aggressive ska, funky old soul, hard house, dirty pop , acid jazz hip-hop, instrumental r&b, urban dance pop, reggae rock, alternative hip-hop, folk, alternative guitar rock
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Music for the Masses
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ASIN: B000002LCI Release Date: 1990-10-25 |
Tracks:
- Never Let Me Down Again
- The Things You Said
- Strangelove
- Sacred
- Little 15
- Behind The Wheel
- I Want You Now
- To Have And To Hold
- Nothing
- Pimpf
- Agent Orange
- Never Let Me Down Again (Aggro Mix)
- To Have And To Hold (Spanish Taster)
- Pleasure, Little Treasure
Amazon.com essential recording
This album is a culmination of Depeche Mode's middle-period experimentation. More informed by Goth than techno, it is still anchored by plenty of the larger-than-life-baritone melodrama so distinctive of David Gahan's vocals. The most experimental track is "Pimpf"--a song that heave-hoes along with the synthesized emulation of a Russian men's choir. Although nowhere near fast enough to be danceable, the commanding "Never Let Me Down" ranks as the best single on the track, with the most hummable "Strangelove" coming in at a close second. Each song is a praiseworthy accomplishment, but the singles here set off the experimental tracks, making the album seem thematically schizophrenic. --Beth BessmerAlbum Description
European 14-track CD on EMI.Customer Reviews:
Depeche Mode's Most Accomplished Album.......2007-05-26
"Music for the Masses" is the band's most accomplished album without a doubt. When they recorded it, they were already entrenched into the dark synth-based sound that would characterize the second half of their career, away from the more catchy pop songs that were the norm in their music early on.
Every track in the album is a piece of art that collectively make the whole production sound as current and powerful at the time of this writing as it did twenty years ago, when it was released.
The albums on either side of it were arguably better, but still..........2007-04-10
Things get a bit spottier from there, but I'm thinking you'll forgive.
Along with "Violator", forms the pinnacle of Depeche Modality.......2006-07-26
I am especially fond of such unusual tracks as the Aggro remix of the album's opening track; a very different interpretation of essentially the same song, both more hard driving and darker. This remix still stands as one of my most favorite 'hard' electronic songs of all time, and convinced more than a few of my hair metal buddies that Depeche Mode was absolutely NOT "sissy music".
"Music for the Masses" functioned as my personal soundtrack for much of the summer of 1989, and if I had to finger any single Depeche Mode album as being "The" Depeche Mode album, this would probably be it.
European Flavor with Plenty of Melodrama.......2006-05-17
I don't have much to say about this ..........2006-02-20
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For The Masses: An Album of Depeche Mode Songs
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ASIN: B000009PNY Release Date: 1998-08-04 |
Tracks:
- Never Let Me Down Again - Smashing Pumpkins
- Fly On A Windshield - God Lives Underwater
- Enjoy The Silence - Failure
- World In My Eyes - The Cure
- Policy Of Truth - Dishwalla
- Somebody - Veruca Salt
- Everything Counts - Meat Beat Manifesto
- Shake The Disease - Hooverphonic
- Master And Servant - Locust
- Shame - Self
- Black Celebration - Monster Magnet
- Waiting For The Night - Rabbit In The Moon
- I Feel For You - Apollo Four Forty
- Monument - Gus Gus
- To Have And To Hold - Deftones
- Stripped - Rammstein
Album Details
Depeche Mode Tribute Album.Customer Reviews:
Primarily for "hardcore-fans".......2007-02-06
Good tribute album........2007-01-20
It's a pretty good tribute, as well. It's really interesting to hear Locust's (not to be confused with the noisecore group) interpretation of "Master and Servant." I never have thought of an S&M-themed song being played so mellow and playful. I really liked Failure's take on "Enjoy the Silence" and the one track I had always been familiar with was the Pumpkins' take on "Never Let Me Down Again." It's surprising that they play that one clean, especially being a B-side of the distortion-happy "Siamese Dream" era. Basically, the first five tracks are my favorites. It is more hit than miss.
There are a couple points that don't really do it for me. "Monument" was never really a favorite of mine to begin with, and I don't care for the remake, either. I wish Monster Magnet would've embraced their style a little bit more on "Black Celebration" as well.
Overall, if you like '90s electronic and alternative music, I recommend this. You'll respect it even if you don't enjoy it. Totally worth getting.
For The Masses.......2006-10-25
It's the lyrics that sell it. These are solid songs, but the fact is the covers are quite simply better than the originals.
The songs that stand out first are the Rammstein cover Stripped, which originally appeared as a bonus track on the album Sehnsucht, and the band Failure whose cover of Enjoy The Silence was a hit on Top 40 during the summer of 1998, but these are not the only good songs on this album.
Others I highly recommend to any potential purchaser of this album include the song Shake The Disease, covered by the band Hooverphonic. Geike Arnaert's delivery on the chorus of the song is way more powerful, to my ears, than the delivery of DM's lead singer Dave Gahan..
Here is a plea
From my heart to you
Nobody knows me
As well as you do
You know how hard it is for me
To shake the disease
That takes hold of my tongue
In situations like these
The melody is not changed much from the 80s techno the original band is known for, but the Belgian band with it's young female lead singer packs the song with more emotion.
Another selling point is the cover of the song Policy of Truth done here by the band Dishwalla, best known for the line from their one hit Counting Blue Cars, "Tell me all your thoughts on God / Cause I'm on my to see Her." Again, the lyrics are better served by another style of music, in this case rock, as opposed to 80s style techno.
Its just time to pay the price
For not listening to advice
And deciding in your youth
On the policy of truth
This album is truly a must have for people who like diamonds in that rough known as the pop music section.
Other Good Tribute Albums: Songs From A Material World (George Harrison tribute), Kindred Sprits (Johnny Cash tribute) and Killer Queen (Queen tribute).
MINDLESS MUSIC FOR THE MINDLESS MASSES.......2006-08-24
Various Artists (And The Smashing Pumpkins) For The Masses.......2006-07-16
I just bought this album in San Francisco (July 2006) some 8 years after it first came out.
As a long time fan of Depeche Mode who has admittedly not paid them very much attention in recent years I can honestly say that I have been reminded why I used to love them so much. Depeche Mode are bl**dy fantastic and this collection of tributes while not being universally wonderful is well worth a listen. As many people will not have heard this release I really wanted to review it. There are some turkeys and some Xmas crackers and be warned that I get a bit cross about the turkeys. Afterall, this is Depeche Mode we are talking about!
The album kicks off with Never Let Me Down Again by the Smashing Pumpkins. If you asked most fans what their 3 favourite DM tunes were, chances are that this is one of them. It's a defining anthem and it truly rocks. The fans know how good it is. We've all been to the concerts and we've all sung our hearts out. Well.... Wait till you hear what the `Smashing F**kwits' have done to it. It is hard to find the words to describe how wide of the mark they are in trying to capture the essence of NLMDA. I mean if you were going to try and do it any justice at all you might have a stab at keeping some of the power, emotional intensity and sheer b*ll**ks of the original. But no.... I don't know anything about the Smashing Turnips or their own music but it is my best guess from this effort that they basically get stoned, jam for a bit in an ineffectual way, put some p**s weak whiny vocals down, pop to the all night garage for some more skins, finish off the Stellas, and call it a day. I now know why I have never noticed anything the Smashing Numpties have ever done. (0 out of 10) Lets move on, as it gets a lot better from here.
Next up, Fly on the Windscreen cruises into town with laid back funky beats and some interesting vocal harmonies which present the tension in the song in a new way. You can nod your head to this more than the original and the dark undercurrents are maintined behind the slick groove. The vocals are more musical than DGs and they really work. It's cool and different. A big thumbs up to God Lives Underwater. There's nothing wrong with taking a song in a different direction, as long as you have one. (Smashing Wasters take note) (8 out of 10)
Enjoy The Silence by Failure doesn't deviate too much from DMs' first version apart from in the obvious, in that the guitars are in and the synths are largely out. The intro is delicate, the chorus thumps and the voice of Failures' singer (whose name I am shamefully ignorant of) resonates nicely while lacking DGs power. They've messed a bit with some of the melody in an acceptably pleasing way and it is quite ... well, enjoyable, without capturing the heartfelt passion of the original. So.. a modest success. (7 out of 10)
Now the Cure have got their work cut out here, as World In My Eyes is a bit of a personal favourite. The consumate Kraftwerk feel is gone but Robert Smith maintains the angst and delivers a very listenable performance. They've been a bit lazy on the drum programming, just using one loop with no real variation but the guitar riffs and howls are good which I guess is their forte. It's quite catchy and if anything a bit more accessible than the original. Rather lost its edge but overall not a bad effort. (7 out of 10)
Enter Dishwalla, who grind out a full throttle take on Policy Of Truth with a certain amount of welly and lots of guitar. It builds nicely throughout and ends with all guns blazing. The vocals are great and the finale sees a very musical deviation that powers it's way up to a blistering climax. How cool?.... Very. For me this is way better than the original, which I always used to find a bit dull. Can't wait to put this on in the car. Go Dishwalla!
(10 out of 10)
Somebody is presented by Veruca Salt and it gets a passionate workout here. The rhodes piano and cello really work, vocals are very genuine and you can get lost in this version the same way you get lost when Martin sings it. A beautifully constructed copy of one of DMs best ballads. (8 out of 10)
Everything Counts by Meat Beat Manifesto is a bit of let down. It's a little hard to see where the creativity went. It didn't go into the drum programming which while being marginally better than the Cures' is a bit pedestrian. Aside from trotting out the main melody, they don't really offer anything on the melodic front either which kind of just leaves noises. I didn't like their noises. Oh yes .. the vocals. A bit pants as well. (1 out of 10)
Shake The Disease has a really sparse electronic feel to it with silky vocals, both courtesy of Hooverphonic. It's a very simple cover but astoundingly beautiful and totally captures the repetitive hypnotic drive of DMs version. Go Hooverphonic! (9 out of 10)
Locust's Master And Servant has a surreal The Devine Comedy meets light jazz feel to it which puts it just above elevator muzak. This makes it slightly interesting. (2 out of 10)
I guess Shame is a surprise choice for a cover but hey why not. Selfs' version is quite catchy, in yer face and fun. Not worthy of great praise but neither was the original. (5 out of 10)
With Black Celebration we are back in anthem territory. Monster Magnet throw a lot of energy into this and I really wish they hadn't. If you are going to mess with people's melody you better do it good. i.e Compliment the original. Draw it out and reframe it. Add something. Bring something to the party goddamnit! Or as MM see it... crash the party, nick the beer, p**s all over the place and do a runner. (0 out of 10)
Waiting For The Night To Fall by Rabbit In The Moon starts with sparse beats that pick up into light drum and bass (without the bass). The vocal is a bit karaoke and the whole thing goes on for way too long. (7 minutes 34 seconds too long) (1 out of 10)
Appollo 440 take on I Feel You and the result appears to be a draw. The vocals don't really stand up to DGs but there is an energentic feel to the proceedings with some lively samples thrown in to the mix. It's OK (5 out of 10)
Gus Gus cover Monument which is an interesting choice. It's been given a far more up to date feel here while maintaining the sparse simplicity and brooding atmosphere of the original. The production is nice but the vocals are a little bit too bronski beat for my liking. Not a turkey and not a craker. (6 out of 10)
Deftones crank it up for To Have And To Hold and make a reasonable fist of it. The vocals don't quite reach the same sharp edged menace that DG gives it but the rest is all there. Screaching guitar solos and smash it all up finale. Pretty good (7 out of 10)
Finally we have Rammstein's Stripped which is completely awful. But let let's leave that to one side for a moment and deal with something else. It's funny as f**k. The vocal comes across as Rocky Horror Show meets Lordi (of recent EuroVision fame). This is all backed up by wannabe death metal come eurobeat. Whether they approached this cover seriously or not I don't know. I am confused and amused by it. Which is a shame as I'd really like to hear somebody have a proper crack at it. (no idea what mark out of 10 this gets ... probably about 4 for being weird)
For fans who want to hear a different take on their favourite band I thoroughly recommend this collection. Half of it is indeed rubbish but that's what CD rippers and MP3 players are for. If you haven't listened to your old DM albums in a while, this will ensure that you rediscover them. While you're at it get the remastered CDs in 5.1 surround sound. They're great.
Chris Danson. Ashford. Middlesex
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Mozart: Masses (5)
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B0000041ME Release Date: 1997-08-26 |
Tracks:
- Missa In C, K317 'Kronungsmesse': Kyrie
- Missa In C, K317 'Kronungsmesse': Gloria
- Missa In C, K317 'Kronungsmesse': Credo
- Missa In C, K317 'Kronungsmesse': Sanctus
- Missa In C, K317 'Kronungsmesse': Benedictus
- Missa In C, K317 'Kronungsmesse': Agnus Dei
- Missa solemnis In C, K337: Kyrie
- Missa solemnis In C, K337: Gloria
- Missa solemnis In C, K337: Credo
- Missa solemnis In C, K337: Sanctus - Benedictus
- Missa solemnis In C, K337: Agnus Dei
- Missa In C, K257 'Credo-Messe': Kyrie
- Missa In C, K257 'Credo-Messe': Gloria
- Missa In C, K257 'Credo-Messe': Credo
- Missa In C, K257 'Credo-Messe': Sanctus
- Missa In C, K257 'Credo-Messe': Benedictus
- Missa In C, K257 'Credo-Messe': Agnus Dei
Tracks:
- Missa In C Minor, K139 'Waisenhaus-Messe': Kyrie
- Missa In C Minor, K139 'Waisenhaus-Messe': Gloria
- Missa In C Minor, K139 'Waisenhaus-Messe': Credo
- Missa In C Minor, K139 'Waisenhaus-Messe': Sanctus
- Missa In C Minor, K139 'Waisenhaus-Messe': Benedictus
- Missa In C Minor, K139 'Waisenhaus-Messe': Agnus Dei
- Missa In C, K167 'Trinitatis-Messe': Kyrie
- Missa In C, K167 'Trinitatis-Messe': Gloria
- Missa In C, K167 'Trinitatis-Messe': Credo
- Missa In C, K167 'Trinitatis-Messe': Sanctus
- Missa In C, K167 'Trinitatis-Messe': Benedictus
- Missa In C, K167 'Trinitatis-Messe': Agnus Dei
Customer Reviews:
a voice teacher and early music fan.......2007-02-04
Mozart's sixteen completed Mass settings all date from before 1781, the year in which he quit his native Salzburg to try his luck as a freelance composer in Vienna. While it is true that little sacred music dates from the time of Mozart's greatest maturity, the best work of his teens and early twenties show him deploying his easy skills in counterpoint and fluid vocal melody to produce music of elegance and charm,which, while not greatly radical, nevertheless married his strengths successfully to the accepted Austrian church idiom of the day.
Since the city of Salzburg had a long tradition of church music, generally with a brass-heavy orchestral accompaniment, Mozart retained this sound in his Masses, with their trumpets and trombones, and in the case of the 'Coronation' Mass,horns as well.
Mozart's earliest Mass, the so-called 'Waisenhaus-Messe', was not in fact composed for Salzburg but for Vienna intended for the dedication of a new orphanage church.
The 'Missa Trinitas' was composed five years later in Salzburg for the Feast of the Holy Trinity in June 1773.
When Mozart wrote the C major 'Credo' Mass in November, 1776, it was in a lively and cheerful vein and quickly became very popular thruout the Salzburg region.
The two Masses K317 and K337, both again in C major,were written for the Easter celebrations of 1779 and 1790, respectively, and they show a rising maturity. The K317 'Coronation' Mass was performed in Vienna during the celebrations for the coronation of Emperor Leopold in 1790.
Whenever I see the name Stephen Cleobury and the Choir of KIng's College, I know I've got a quality production!..And this is no exception. The wonderful tuneful voices of the boy sopranos and male altos add so much to the sound of Mozart as well as any other early composer, The soloists, however, were brought in for this disc, and are not members of the choir. They are: Margaret Marshal(soprano)-Ann Murray (contralto)-Rogers Covey-Crump (tenor)-David Wilson-Johnson (bass)-Suzanne Mentzer (soprano)-Bernadette di Nissa (contralto)-Neil Mackie (tenor) and Stephen Roberts (bass). THERE WERE NO COUNTERTENORS SINGING SOLO PARTS.
Two very finely performed recordings.
I needed this for K139.......2006-11-10
However, it was a good quality recording for the price and was helpful in learning my part for the choral sections as well.
Young, bright voices effectively sing Mozart.......2006-02-24
Explicitly Wonderful!.......2004-07-14
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Music for the Masses (Deluxe Edition CD+DVD)
Depeche Mode Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000ESSTKG Release Date: 2006-06-06 |
Tracks:
- Never Let Me Down Again
- The Things You Said
- Strangelove
- Sacred
- Little 15
- Behind The Wheel
- I Want You Now
- To Have And To Hold
- Nothing
- Pimpf
Album Description
Rooted in the U.K.'s late `70s New Romantic movement, Depeche Mode formed in 1980, and the pioneering, synthesizer-based sound created by the founding partnership of Dave Gahan, Martin Gore, Vince Clarke, and Andrew Fletcher went on to establish them as one of the most successful alt-rock groups ever. These electro-pop superstars loomed as large as cult heroes as they did as commercial heavies, and their wealth of singles and signature tracks ranged from energetic dance grooves to dramatic, moody, and industrial-tinged masterpieces. Depeche's originality of vision weathered personnel shifts and personal turmoil, influencing modern rock and synth-pop on a global level. As the band continues to tour, record and build on its legacy a quarter-century down the road, Rhino begins its restoration of their classic catalogue with the CD + DVD reissue of this landmark album.Customer Reviews:
Minimalist Music Standing the Test of Time.......2007-06-08
Hearing this album again proves that giving it a second chance was well worth my time. The sound of many bands from the 80s has aged poorly; one can often almost pin point which year such and such album was released given the production sound that was currently in vogue. MFTM has, however, a timeless production. This could actually be released today and by tagging another artist name to the music this could most certainly appeal to today's masses. The songs are built upon minimalist sound bites and layered with various sound effects. This may have sounded bleak in the mid 80s but today this sounds remarkably fresh.
Listening to the album in 5.1 surround sound gives even more value to the production. The low-key beats driving the songs flow in a perfect tandem with the instruments flowing all around the listener. Actually, I hardly bother listening to this any other way.
Also included is a very interesting documentary about the making of the album, the making of its cover and the subsequent promotional tour. A highlight is the final concert which certainly put them on the map in the US. One senses how much pride DM still feel of MFTM.
I have one final note. Having bought other DM re-releases from the US, I initially simply forgot that the CD version from the UK is a hybrid SACD. I thus listened first to the dts surround sound the first few times, and was impressed. Yet once I put the SACD it felt like the sound improved almost half way to the difference of re-mastered versions of other CDs today from initial pressing 20 years or so ago. The difference is subtle but definitely audible. This should not be happening today. I intend to buy the more expensive DM re-releases from the UK and dump the US versions.
Great Dvd sound.......2007-03-30
Nice DTS.......2007-01-20
Gosh, it seems to listened to new a thing. I was so used to listen to this record with the originally hoarse sound. Like if you put your speakers facing to the floor. But now it's so clean so when you listen to it new sounds come up like if they never have been there before.
Such a nice experience. Sit in middle of those 5 speakers and you won't regret it.
There is only one thing I would have change. I now the originally lp press came out without the bonus tracks but, since everybody is used to the cd version, they should have put the whole tracks together and not separated, so in order to play them you have to get into a new menu.
Enjoy it while it last.
Never Get the Chance to Let Me down Again.......2007-01-19
purchased this pricey deluxe edition only to find
the last four songs have been removed from the CD.
Not ending with Pleasure Little Treasure makes the
whole nostalgic vaunt all vapid and hollow.
Disc 2 contains the catchier more enjoyable tracks
from the singles along with what I call the missing
tracks although some would argue. Alas they can only
be played on a DVD player not a car stereo. Kind of a
worthless novelty albeit deliberate.
LACKLUSTER REMASTER + MIXED FORMATS = A BAD IDEA.......2006-11-23
This is one of the rare times that Rhino began with the best of intentions, then just executed terribly. Here's how Rhino blew it on the entire Depeche Mode multi-title CD/DVD remaster series:
1.) The remastering is heartbreakingly sub-par. I'll get to that.
2.) They relegated the great bonus audio tracks & remixes to the DVD.
3.) The 5.1 mixes and the video clips should have been released on dedicated DVD editions.
Let's start with the remastering.
You (real) DM fans who have all the Singles Boxes; go to Box #4, pull out the "Behind The Wheel" disc, and cue up the "album version". Now, compare it to the "remastered" Masses track... BIG DIFFERENCE, huh? The Masses version has greatly diminished clarity, like a heavy towel had been draped over the speakers. Forward the playback to 2:10 on each track, when all the instrumentation and vocals have finally kicked in, and listen. You'll understand the audio dichotomy I'm describing is not trivial.
Yes, the remastered audio on the CD in the new Masses set is better than the original 1987 single-disc CD release. But, after you perform the A/B test described above, you know the audio is not what it COULD have been, and probably now, never will be. That's a bitter pill to have to swallow for the Depeche fan, especially after laying out $20+ for this set.
I've also A/B'd tracks from all five of the Rhino 2006 sets against their respective Singles-Box counterpart. I found the same sub-standard remastering. What a terrible disappointment.
Let's move on to the DVD included in each set, and the decision to locate the remix and additional audio tracks there rather than the CD.
Simply: CD audio BELONGS in dedicated CD format. Multi-Channel audio/video BELONG in dedicated multi-channel formats. No matter what the marketing morons say, mixing the two plays to such a small portion of the market, it's just idiotic. In the case of the DVD's in the DM/Rhino sets, here are two perfect examples why:
How many DM fans don't have home surround sound systems, or DVD-capable units in their cars, and are ridiculously limited to listening to the bonus audio material on their home DVD player thru their television? How many DM fans don't appreciate not being able to Fair Use the DVD audio tracks on their portable audio devices?
Also, the DVD in each set consists of three components: A 30-minute video documentary, the 5.1 mix of the album, and the bonus tracks/remixes. Say you don't have a surround system and can't utilize the 5.1 album. So, ask yourself: How many times will you want to repeat the video? How many times would you like to listen to those great bonus tracks? I doubt many people would answer to a 1:1 ratio between the two! Me? Probably 1:100+!
Rhino should have followed their own Elvis Costello remaster-series model, and produced each of these albums as a two disc, standard CD-audio set. Then, Rhino could have released the multi-channel and video content as separate DVD retail versions, for those who desire to purchase, and are equipped to play them.
At the very least, however, Rhino seems to have learned its lesson from the Talking Heads Dual-Disc remaster-series fiasco and eschewed the horrid DD format for the Depeche releases (go to any TH DD-title on Amazon and scan thru the reviews if you want to read some REALLY p'd-off consumers, including myself!).
As an aside: I also checked the recent UK single-disc remasters against the Rhino CD's. As another reviewer noted below, the audio is identical to both versions.
Average customer rating: 
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Mozart: The Collector's Edition - (50 CD Set) Including Symphonies (selection), Piano Sonatas, Concerti, Masses, Operas (Nozze di Figaro, Zauberflote, Cosi fan Tutte), etc.
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ASIN: B000NA2PD2 Release Date: 2007-04-24 |
Tracks:
- I: Molto Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Presto - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Presto - English Chamber Orchestra
- I: Allegro Assai - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Presto - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Molto Allegro - English Chamber Orchestra
- I: Allegro Maestoso - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Molto Allegro - English Chamber Orchestra
- I: Allegro Maestoso - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Menuetto & Trio - English Chamber Orchestra
- IV: Allegro - English Chamber Orchestra
Tracks:
- I: Allegro Assai - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegro - English Chamber Orchestra
- Appendix: Andante - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Andantino Grazioso - English Chamber Orchestra
- III: Presto - English Chamber Orchestra
- I: Allegro Con Brio - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Menuetto & Trio - English Chamber Orchestra
- IV: Allegro - English Chamber Orchestra
Tracks:
- I: Molto Presto - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegro - English Chamber Orchestra
- I: Allegro Moderato - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Menuetto - English Chamber Orchestra
- IV: Allegro Con Spirito - English Chamber Orchestra
- I: Molto Allegro - English Chamber Orchestra
- II: Andantino Con Moto - English Chamber Orchestra
- III: Menuetto - English Chamber Orchestra
- IV: Presto - English Chamber Orchestra
- I: Allegro Spiritoso - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Menuetto: Allegretto - English Chamber Orchestra
- IV: Presto - English Chamber Orchestra
Tracks:
- I: Allegro Spiritoso - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegro Spiritoso - English Chamber Orchestra
- I: Allegro Con Spirito - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Menuetto & Trio - English Chamber Orchestra
- IV: Finale: Presto - English Chamber Orchestra
- I: Adagio - Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Menuetto: Allegretto & Trio - English Chamber Orchestra
- IV: Finale: Allegro - English Chamber Orchestra
Tracks:
- I: Allegro Vivace - English Chamber Orchestra
- II: Andante Di Molto - English Chamber Orchestra
- III: Finale: Allegro Vivace - English Chamber Orchestra
- Appendix: Menuetto & Trio K409 (383f) - English Chamber Orchestra
- I: Allegro Assai - English Chamber Orchestra
- II: Andante Moderato - English Chamber Orchestra
- III: Menuetto & Trio - English Chamber Orchestra
- IV: Allegro Assai - English Chamber Orchestra
Tracks:
- I: Adagio - Allegro Spiritoso - English Chamber Orchestra
- II: Poco Adagio - English Chamber Orchestra
- III: Menuetto & Trio - English Chamber Orchestra
- IV: Presto - English Chamber Orchestra
- I: Adagio - Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Presto - English Chamber Orchestra
Tracks:
- I: Molto Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Menuetto: Allegretto & Trio - English Chamber Orchestra
- IV: Allegro Assai - English Chamber Orchestra
- I: Allegro Vivace - English Chamber Orchestra
- II: Andante Cantabile - English Chamber Orchestra
- III: Menuetto: Allegretto & Trio - English Chamber Orchestra
- IV: Molto Allegro - English Chamber Orchestra
Tracks:
- I: Allegro Cadenza - English Chamber Orchestra
- II: Andantino - English Chamber Orchestra
- III: Rondeau: Presto - English Chamber Orchestra
- I: Allegro Maestoso - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegretto - English Chamber Orchestra
- Concerto Rondo For Piano & Orchestra No.1 In D K382 - English Chamber Orchestra
Tracks:
- I: Allegro - English Chamber Orchestra
- II: Larghetto - English Chamber Orchestra
- III: Tempo Di Menuetto - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegretto - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegro - Adagio - Allegro - English Chamber Orchestra
Tracks:
- I: Allegro Vivace - English Chamber Orchestra
- II: Andantino - English Chamber Orchestra
- III: Allegro Ma Non Troppo - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegro - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegro Di Molto - English Chamber Orchestra
Tracks:
- I: Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegretto - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Larghetto - English Chamber Orchestra
- III: Allegretto - English Chamber Orchestra
Tracks:
- I: Allegro Vivace - English Chamber Orchestra
- II: Andante Un Poco Sostenuto - English Chamber Orchestra
- III: Allegro Vivace - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Allegretto - English Chamber Orchestra
- III: Allegro Assai - English Chamber Orchestra
Tracks:
- I: Allegro - English Chamber Orchestra
- II: Romanze - English Chamber Orchestra
- III: Rondeau: Allegro Assai - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Larghetto - English Chamber Orchestra
- III: Allegretto Assai - English Chamber Orchestra
Tracks:
- I: Allegro Maestoso - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Allegro Vivace Assai - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Larghetto - English Chamber Orchestra
- III: Allegro - English Chamber Orchestra
Tracks:
- I: Allegro - English Chamber Orchestra
- II: Andante - English Chamber Orchestra
- III: Rondo: Allegro - English Chamber Orchestra
- I: Allegro - English Chamber Orchestra
- II: Adagio - English Chamber Orchestra
- III: Allegro Assai - English Chamber Orchestra
Tracks:
- I: (Allegro Moderato) - David Oistrakh
- II: Adagio - David Oistrakh
- III: Presto - David Oistrakh
- I: (Allegro Moderato) - David Oistrakh
- II: (Andante) - David Oistrakh
- III: Rondeau: Allegro - David Oistrakh
- I: Allegro - David Oistrakh
- II: Adagio - David Oistrakh
- III: Rondeau: Allegro - Andante - Allegretto - David Oistrakh
- Rondo For Violin And Orchestra In C K373 - David Oistrakh
Tracks:
- I: Allegro - David Oistrakh
- II: Andante Cantabile - David Oistrakh
- III: Rondeau: Andante Grazioso - Allegro Ma Non Troppo - David Oistrakh
- I: Allegro Aperto - David Oistrakh
- II: Adagio - David Oistrakh
- III: Rondeau: Tempo Di Menuetto - Allegro - David Oistrakh
Tracks:
- I: Allegro - Jeffrey Tate
- II: Rondo: Allegro - Jeffrey Tate
- I: Allegro Maestoso - Jeffrey Tate
- II: Andante - Jeffrey Tate
- III: Rondo: Allegro - Jeffrey Tate
- I: Allegro - Jeffrey Tate
- II: Romance: Larghetto - Jeffrey Tate
- III: Allegro - Jeffrey Tate
- I: Allegro Moderato - Jeffrey Tate
- II: Romance: Andante Cantabile - Jeffrey Tate
- III: Rondo: Allegro Vivace - Jeffrey Tate
- Rondo In E Flat K371 - Jeffrey Tate
Tracks:
- I: Allegro - Gordon Hunt
- II: Adagio - Gordon Hunt
- III: Rondeau: Allegro - Gordon Hunt
- I: Allegro - Gordon Hunt
- II: Larghetto - Gordon Hunt
- III: Menuetto - Gordon Hunt
- IV: Allegretto Con Variazioni - Gordon Hunt
- I: Allegro - Jane Glover
- II: Adagio - Jane Glover
- III: Rondo: Allegro - Jane Glover
Tracks:
- I: Allegro Maestoso - London Philharmonic Orchestra
- II: Adagio Non Troppo - London Philharmonic Orchestra
- III: Rondo: Tempo Di Menuetto - London Philharmonic Orchestra
- I: Allegro Aperto - Andrew Litton
- II: Adagio Non Troppo - Andrew Litton
- III: Rondo: Allegretto - Andrew Litton
- I: Allegro - Andrew Litton
- II: Andantino - Andrew Litton
- III: Rondeau: Allegro - Andrew Litton
Tracks:
- I: Allegro - Jane Glover
- II: Romanze: Andante - Jane Glover
- III: Menuetto: Allegretto & Trio - Jane Glover
- IV: Rondo: Allegro - Jane Glover
- I: Allegro - Jane Glover
- II: Andante Ma Adagio - Jane Glover
- III: Rondo: Tempo Di Menuetto - Jane Glover
- I: Allegro - Jane Glover
- II: Andante - Jane Glover
- III: Presto - Jane Glover
- I: Andante - Jane Glover
- II: Allegro Di Molto - Jane Glover
- III: Allegro Assai - Jane Glover
- I: Allegro - Jane Glover
- II: Andante - Jane Glover
- III: Presto - Jane Glover
Tracks:
- I: Allegro Maestoso - Allegro Molto - Yehudi Menuhin
- II: Andante - Yehudi Menuhin
- III: Menuetto & Trio - Yehudi Menuhin
- IV: Rondo: Allegro - Yehudi Menuhin
- V: Menuetto Galante & Trio - Yehudi Menuhin
- VI: Andante - Yehudi Menuhin
- VII: Menuetto & Trios I & II - Yehudi Menuhin
- VIII: Adagio - Allegro Assai - Yehudi Menuhin
- I: Marcia: Maestoso - Yehudi Menuhin
- II: Menuetto & Trio - Yehudi Menuhin
- III: Rondeau: Allegretto - Yehudi Menuhin
Tracks:
- I: Largo - Allegro Molto - Consortium Classicum
- II: Menuetto & Trios I & II - Consortium Classicum
- III: Adagio - Consortium Classicum
- IV: Menuetto & Trios I & II - Consortium Classicum
- V: Romance: Adagio - Allegretto - Consortium Classicum
- VI: Thema: Andante With Variations - Consortium Classicum
- VII: Rondo: Allegro Molto - Consortium Classicum
- I: Allegro - Consortium Classicum
- II: Menuetto I - Consortium Classicum
- III: Adagio - Consortium Classicum
- IV: Menuetto II & Trios I & II - Consortium Classicum
- V: Allegro - Consortium Classicum
Tracks:
- I: Allegro - Consortium Classicum
- II: Andante - Consortium Classicum
- III: Menuetto In Canone - Consortium Classicum
- IV: Allegro - Consortium Classicum
- I: Allegro Spiritoso - Consortium Classicum
- II: Andante - Consortium Classicum
- III: Menuetto - Consortium Classicum
- IV: Contredanse En Rondeau: Molto Allegro - Consortium Classicum
- I: Allegro - Consortium Classicum
- II: Andante Grazioso - Consortium Classicum
- III: Menuetto - Consortium Classicum
- IV: Allegro - Consortium Classicum
- I: Andante - Consortium Classicum
- II: Menuetto - Consortium Classicum
- III: Polonaise: Andante - Consortium Classicum
- IV: Presto Assai - Consortium Classicum
- I: Allegro Molto - Consortium Classicum
- II: Andantino - Consortium Classicum
- III: Menuetto: Moderato - Consortium Classicum
- IV: Presto - Consortium Classicum
Tracks:
- I: Allegro Moderato - Heutling Quartet
- II: Andante - Heutling Quartet
- III: Menuetto: Allegretto - Heutling Quartet
- IV: Allegretto Ma Non Troppo - Heutling Quartet
- I: Allegro Non Troppo - Heutling Quartet
- II: Andante Con Moto - Heutling Quartet
- III: Menuetto: Allegretto - Allegro - Heutling Quartet
- IV: Allegro Vivace - Heutling Quartet
- I: Allegro Vivace Assai - Heutling Quartet
- II: Menuetto Moderato - Heutling Quartet
- III: Adagio - Heutling Quartet
- IV: Allegro Assai - Heutling Quartet
Tracks:
- I: Allegro - Heutling Quartet
- II: Menuetto - Heutling Quartet
- III: Andante - Heutling Quartet
- IV: Allegro Non Troppo - Heutling Quartet
- I: Adagio - Allegro - Heutling Quartet
- II: Andante Cantabile - Heutling Quartet
- III: Menuetto: Allegro - Heutling Quartet
- IV: Allegro Molto - Heutling Quartet
- I: Allegro - Heutling Quartet
- II: Larghetto - Heutling Quartet
- III: Menuetto: Moderato - Heutling Quartet
- IV: Allegro Assai - Heutling Quartet
Tracks:
- I: Allegro - Heutling Quartet
- II: Andante - Heutling Quartet
- III: Menuetto: Allegretto - Heutling Quartet
- IV: Allegro - Heutling Quartet
- I: Allegro - Heutling Quartet
- II: Menuetto: Allegretto - Heutling Quartet
- III: Adagio Ma Non Troppo - Heutling Quartet
- IV: Adagio - Allegro - Heutling Quartet
Tracks:
- I: Allegro Moderato - Heutling Quartet
- II: Adagio - Heutling Quartet
- III: Menuetto Ma Allegretto - Heutling Quartet
- IV: Allegro - Heutling Quartet
- I: Larghetto - Allegro - Heutling Quartet
- II: Adagio - Heutling Quartet
- III: Menuetto Ma Allegretto - Heutling Quartet
- IV: Allegro - Heutling Quartet
- I: Allegro Di Molto - Heutling Quartet
- II: Andante - Heutling Quartet
- III: Menuetto: Allegretto - Heutling Quartet
- IV: Allegro - Heutling Quartet
Tracks:
- Allegro Con Spirito - Sviatoslav Richter
- II: Andantino Catabile - Sviatoslav Richter
- III: Allegretto - Sviatoslav Richter
- I: Allegro Moderato - Sviatoslav Richter
- II: Andantino Sostenuto E Cantabile - Sviatoslav Richter
- III: Rondo: Allegro - Sviatoslav Richter
- I: Andante - Sviatoslav Richter
- II: Allegro - Sviatoslav Richter
- I: Allegro - Sviatoslav Richter
Tracks:
- I: Allegro Con Spirito - Daniel Barenboim
- II: Andantino Con Espressione - Daniel Barenboim
- III: Rondeau: Allegro - Daniel Barenboim
- I: Allegro Moderato - Daniel Barenboim
- II: Andante Cantabile - Daniel Barenboim
- III: Allegretto - Daniel Barenboim
- I: Tema (Andante Grazioso) Con Variazioni (I-VI) - Daniel Barenboim
- II: Menuetto - Trio - Daniel Barenboim
- III: Alla Turca: Allegretto - Daniel Barenboim
- I: Allegro - Daniel Barenboim
- II: Adagio - Daniel Barenboim
- III: Allegro Assai - Daniel Barenboim
Tracks:
- I: Allegro - Daniel Barenboim
- II: Andante Cantabile - Daniel Barenboim
- III: Allegretto Grazioso - Daniel Barenboim
- Adagio - Allegro - Andantino - Piu Allegro - Tempo I - Daniel Barenboim
- I: Molto Allegro - Daniel Barenboim
- II: Adagio - Daniel Barenboim
- III: Allegro Assai - Daniel Barenboim
Tracks:
- I: Allegro - Daniel Barenboim
- II: Andante Cantabile - Daniel Barenboim
- III: Allegretto - Daniel Barenboim
- I: Allegro - Daniel Barenboim
- II: Andante - Daniel Barenboim
- III: Rondo - Daniel Barenboim
- I: Allegro - Daniel Barenboim
- II: Adagio - Daniel Barenboim
- III: Allegretto - Daniel Barenboim
- I: Allegro - Daniel Barenboim
- II: Adagio - Daniel Barenboim
- III: Allegretto - Daniel Barenboim
Tracks:
- Tema ('Laat Ons Juichen') (Allegretto) - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7: Adagio - Daniel Barenboim
- Variation 8 (Tempo I) - Daniel Barenboim
- Tema (Air): Allegro - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5: Adagio - Daniel Barenboim
- Variation 6 (Tempo I) - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Tema (Menuetto): Andante - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5: Adagio - Daniel Barenboim
- Variation 6: Allegretto - Daniel Barenboim
- Tema (Menuet) - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Variation 8 - Daniel Barenboim
- Variation 9 - Daniel Barenboim
- Variation 10 - Daniel Barenboim
- Variation 11: Adagio - Daniel Barenboim
- Variation 12: Allegro - Daniel Barenboim
- Tema (Air): Allegretto - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Variation 8 (Tempo Di Menuetto) - Daniel Barenboim
- Variation 9 - Daniel Barenboim
- Variation 10: Allegretto - Daniel Barenboim
- Variation 11 - Daniel Barenboim
- Variation 12 (Molto Adagio -) - Daniel Barenboim
- Variation 12 (Allegretto) - Daniel Barenboim
Tracks:
- Tema - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Variation 8 - Daniel Barenboim
- Variation 9 - Daniel Barenboim
- Variation 10 - Daniel Barenboim
- Variation 11: Adagio - Daniel Barenboim
- Variation 12: Allegro - Daniel Barenboim
- Tema - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Variation 8 - Daniel Barenboim
- Variation 9 - Daniel Barenboim
- Variation 10 - Daniel Barenboim
- Variation 11: Adagio - Daniel Barenboim
- Variation 12: Presto - Daniel Barenboim
- Tema: Andante - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Variation 8: Adagio - Daniel Barenboim
- Variation 9 (Allegro -) - Daniel Barenboim
- Variation 9 (Tempo Di Tema) - Daniel Barenboim
- Tema - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7: Adagio - Daniel Barenboim
- Variation 8: Allegro - Daniel Barenboim
- Tema - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
Tracks:
- Tema: Allegretto - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Variation 8 - Daniel Barenboim
- Variation 9: Adagio - Daniel Barenboim
- Variation 10 (Allegro -) - Daniel Barenboim
- Variation 10 (Tempo I) - Daniel Barenboim
- Tema: Allegretto - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Variation 8 - Daniel Barenboim
- Variation 9 - Daniel Barenboim
- Variation 10 - Daniel Barenboim
- Variation 11: Adagio - Daniel Barenboim
- Variation 12 (Allegro -) - Daniel Barenboim
- Variation 12 (Tempo I) - Daniel Barenboim
- Tema: Allegretto - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Tema - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7 - Daniel Barenboim
- Variation 8: Adagio - Daniel Barenboim
- Variation 9 (Allegro -) - Daniel Barenboim
- Variation 9 (Tempo I) - Daniel Barenboim
- Tema - Daniel Barenboim
- Variation 1 - Daniel Barenboim
- Variation 2 - Daniel Barenboim
- Variation 3 - Daniel Barenboim
- Variation 4 - Daniel Barenboim
- Variation 5 - Daniel Barenboim
- Variation 6 - Daniel Barenboim
- Variation 7: Adagio - Daniel Barenboim
- Variation 8 (Allegro -) - Daniel Barenboim
- Variation 8 (Tempo I) - Daniel Barenboim
Tracks:
- Lieder: Sehnsucht Nach Dem Fruhlinge K596 - Barbara Hendricks
- Lieder: An Die Hoffnung K390 (340c) - Barbara Hendricks
- Lieder: Der Zauberer K472 - Barbara Hendricks
- Lieder: Die Kleine Spinnerin K531 - Barbara Hendricks
- Lieder: Die Verschweigung K518 - Barbara Hendricks
- Lieder: Das Lied Der Trennung K519 - Barbara Hendricks
- Lieder: Die Zufriedenheit K473 - Barbara Hendricks
- Lieder: Als Luise Die Briefe K520 - Barbara Hendricks
- Lieder: An Die Einsamkeit K391 (340b) - Barbara Hendricks
- Lieder: Das Veilchen K476 - Barbara Hendricks
- Lieder: Abendempfindung K523 - Barbara Hendricks
- Lieder: An Chloe K524 - Barbara Hendricks
- Cantata: Die Ihr Des Unermesslichen Weltalls K619 - Barbara Hendricks
- Canzonetta: Ridente La Calma K152 - Barbara Hendricks
- Lieder: Dans Un Bois Solitaire K308 - Barbara Hendricks
- Lieder: Oiseaux, Si Tous Les Ans K307 (284d) - Barbara Hendricks
- Lieder: Un Moto Di Gioia K579 - Barbara Hendricks
- Lieder: Komm, Liebe Zither K351 (367b) - Barbara Hendricks
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Schubert: The 6 Latin Masses
Manufacturer: Vox (Classical) ProductGroup: Music Binding: Audio CD All Works by Schubert
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ASIN: B000001K6Y Release Date: 1997-02-04 |
Tracks:
- German Mass D. 872: Zum Eingang
- German Mass D. 872: Zum Gloria
- German Mass D. 872: Zum Evangelium und Credo
- German Mass D. 872: Zum Offertorium
- German Mass D. 872: Zum Sanctus
- German Mass D. 872: Nach der Wandlung
- German Mass D. 872: Anhang: Das Gebet des Herrn
- German Mass D. 872: Zum Agnus Dei
- German Mass D. 872: Schlussgesang
- Mass No.1 In F major, D 105: Kyrie
- Mass No.1 In F major, D 105: Gloria
- Mass No.1 In F major, D 105: Credo
- Mass No.1 In F major, D 105: Sanctus
- Mass No.1 In F major, D 105: Benedictus
- Mass No.1 In F major, D 105: Agnus Dei
- Mass No.1 In F major, D 105: Dona Nobis Pacem
- Mass No.2 In G Major. D. 167: Kyrie
- Mass No.2 In G Major. D. 167: Gloria
- Mass No.2 In G Major. D. 167: Credo
- Mass No.2 In G Major. D. 167: Sanctus
- Mass No.2 In G Major. D. 167: Benedictus
- Mass No.2 In G Major. D. 167: Agnus Dei
Tracks:
- Mass No.3 In B Flat Major. D 324: Kyrie
- Mass No.3 In B Flat Major. D 324: Gloria
- Mass No.3 In B Flat Major. D 324: Credo
- Mass No.3 In B Flat Major. D 324: Sanctus
- Mass No.3 In B Flat Major. D 324: Benedictus
- Mass No.3 In B Flat Major. D 324: Agnus Dei
- Mass No.5 In A-flat Major D. 678: Kyrie
- Mass No.5 In A-flat Major D. 678: Gloria
- Mass No.5 In A-flat Major D. 678: Credo
- Mass No.5 In A-flat Major D. 678: Sanctus
- Mass No.5 In A-flat Major D. 678: Benedictus
- Mass No.5 In A-flat Major D. 678: Agnus Dei
Tracks:
- Mass No.4 In C. Major D.452: Kyrie
- Mass No.4 In C. Major D.452: Gloria
- Mass No.4 In C. Major D.452: Credo
- Mass No.4 In C. Major D.452: Sanctus
- Mass No.4 In C. Major D.452: Benedictus
- Mass No.4 In C. Major D.452: Agnus Dei
- Mass No.6 In E Flat Major, D 950: Kyrie
- Mass No.6 In E Flat Major, D 950: Gloria
- Mass No.6 In E Flat Major, D 950: Sanctus
- Mass No.6 In E Flat Major, D 950: Benedictus
- Mass No.6 In E Flat Major, D 950: Agnus Dei
- Agnus Dei
Customer Reviews:
great price but there are some drawbacks.......2006-08-30
The performance is good, probably not the best though. The singers seem to really over power the instruments. some times the instruments just seem a little small. There is some background noise just like on most recordings but it's nothing terrible.
I actually recommend the Brilliant Classics Schubert Masses. The sound quality is much better in that box set and it only costs a couple of dollars more.
Possibly Schubert's most intimate work!.......2005-10-07
Technically speaking these masses seem easy, but they surely rank among Franz Schubert's best works. They certainly constitute a very mature body of work, most part of which written by the great composer towards the end of his short but very prolific life. The choral part is not overly complex, and so is the orchestral one. To me the beauty of these works is in the interaction between choral, solos and orchestral sections. Sometimes a simple work can be magnificent.
I'm not a regular churchgoer, but just like another reviewer here at Amazon.com, I happened to attend a few masses in Stuttgart and Ludwigsburg, Germany, more than a decade ago. Masses in german and english, the softly spoken magic spell accompanied by Schubert's masses. What a blissful atmosphere! When I think about it, it's very difficult to describe that feeling now, but I guess "intimate" would be the word that comes closest to it.
Franz Schubert's "Deutsche Messe".......2000-06-16
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Bruckner: Masses #2 & 3, Te Deum, 5 Motets
Anton Bruckner , Daniel Barenboim , Wilhelm Pitz , New Philharmonia Orchestra & Chorus , English Chamber Orchestra , and John Alldis Choir Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Barenboim, Daniel
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ASIN: B0000CE7FN Release Date: 2004-06-01 |
Tracks:
- I. Kyrie - John Alldis Choir
- II.: Gloria - John Alldis Choir
- III. Credo - John Alldis Choir
- IV. Sanctus - John Alldis Choir
- V. Benedictus - John Alldis Choir
- VI. Agnus Dei - John Alldis Choir
- Te Deum Laudamus
- Te Ergo Quaesumus
- Aeterna Fac Cum Sanctis Tuis
- Salvum Fac Populum Tuum
- In Te, Domine, Speravi
Tracks:
- I. Kyrie
- II. Gloria
- III. Credo
- IV. Sanctus
- V. Benedictus
- VI. Agnus Dei
- Ave Maria - New Philharmonia Chorus
- Christus Factus Est - New Philharmonia Chorus
- Locus Iste - New Philharmonia Chorus
- Os Justi - New Philharmonia Chorus
- Virga Jesse - New Philharmonia Chorus
Customer Reviews:
Massive Music.......2004-10-26
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Dunstable: Sweet Harmony - Masses and Motets
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General
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ASIN: B000B6N67M Release Date: 2005-10-18 |
Tracks:
- Quam Pulchra Es
- Kyrie
- Gloria A 4
- Credo A 4
- Gloria: Jesu Christe Fili Dei
- Credo: Jesu Christe Fili Dei
- Sanctus
- Credo: Da Gaudiorum Premia
- Sanctus: Da Gaudiorum Premia
- Agnus Dei
- Veni Sancte Spiritus-Veni Creator
- Gloria In Canon
Customer Reviews:
Dunstable masses and motets: recording by Tonus Peregrinus.......2007-07-21
The harmonic building blocks of Renaissance music.......2006-06-07
Dunstable was a master of isorhythm, a technique that involved repetition of lengthy melodic and harmonic figures (sometimes in sync and sometimes in overlapping fashion). While isorhythm contributes to the compositional integrity of Dunstable's music, it's not readily discernible by modern ears. What's most apparent in the music of John Dunstable is the forceful delivery of a new style: the sweet harmony resulting from the use of parallel 3rd and 6th intervals. Dunstable's harmonic writing is not particularly disciplined: unprepared dissonances occur, sometimes in jarring fashion. But overall, a spirit of jubilation pervades Dunstable's work, which should impress modern listeners just as it did the European composers who heard it nearly six centuries ago.
Tonus Peregrinus, a vocal consort named for an ancient chant that Christ might have sung at the Last Supper, delivers an evocative performance of Dunstable's works. The group performs Dunstable's motets "Quam pulchra es" and "Veni Sancte Spiritus - Veni Creator", sandwiched around a collection of Mass movements. "Quam pulchra es" exhibits a stately, graceful quality later found in the works of Binchois, while the first "Sanctus" achieves an otherworldly beauty that may have influenced the motets of Dufay. The acoustics of this recording, captured in an echo-filled French abbey, create a sense of time and place that enhances the authenticity of the performance.
In 1476, music theorist Johannes Tinctoris remarked, "There is no composition written over forty years ago which is thought by the learned as worth of performance." Tinctoris' dismissal presumably included the works of Dunstable. Fortunately, Dunstable's music has survived Tinctoris' sentiment, and now awaits your discovery, courtesy of this fine recording.
THE GREAT LEAP FORWARD.......2005-11-29
England was not always `the land without music'. In particular, it seems that a sudden and spectacular leap in musical development occurred precisely there in the early 15th century, and, if we are to believe the musical historian of the time Tinctoris (cited by Pitts in his liner-note), the main driving-force behind this revolution was John Dunstable, whose innovations were picked up promptly by his contemporary Dufay and thereafter by Europe in general. My own knowledge of this period is deplorably patchy, but it is quite clear that by the 12th century the ecclesiastical tradition of monodic plainsong, believed to date from the 8th century, had not changed much, even at the hands of the frumious Hildegard of Bingen. There was a parallel secular tradition, probably more than one, but if the music of the troubadours during this same period is anything to go by it had primitive instrumental accompaniment for the voices, but nothing by way of genuine `harmony' much less polyphony or counterpoint.
Enter the English, Dunstable in the lead. Not a lot seems to be known about him except that he appears to have been associated with St Albans in Hertfordshire, where his name survives in the name of a town not far away, as does that of the author of Dunstable's epitaph and Abbot of St Albans Abbey John Wheathampstead. All this information is conveyed with admirable brevity in Pitts's notes, and I take it on faith entirely. Faith of another kind shows through his phraseology here and there, as in his dedication of the recording to `a God-fearing man' (not the kind of terminology one encounters much in England these days) and in his sniffy comment in his resume that he left the BBC in protest over its screening of `a blasphemous musical'. I would only remark that the BBC never actually broadcast anything by such a description, nor did the public in general realise that they were listening to such. At the musical level by and large the liner-note is awesomely learned but slightly heavy going. It is worth absorbing slowly, but the most significant thing it says is really its naïve proclamation of how marvellous the music is. This is the dawn of the elaborate harmonisation that makes European music, so far as I know, unique, and the thrill and sense of awe that go with that are enormous for one kind of listener at least.
If I understand Pitts aright, the various sections of the mass here - including 2 glorias, 3 credos and 2 settings of the sanctus - don't incorporate one specific `mass' although they approximately follow the order of the parts normally set to music: indeed if there were a single coherent mass in it what would be the point of such duplications? The way they have sequenced it all is appropriate to isolated settings, sensibly programmed so as to avoid having the same text in successive tracks. The recital starts with one motet and ends with another, followed by a gloria that `we' have completed from the restored but deficient MS. `We' have done just brilliantly if I may say so - this is what music-making is all about, but it needs the right level of talent. The performing artists consist of 2 sopranos, 1 female and 1 male alto, 3 tenors and a single bass. I have to take the historical authenticity of this, just as I have to take the tempi adopted, on faith once again. I believe the phrase is `It works for me'. What is beyond much question is the sheer quality of the singing, and what I want to sing my own praises of is the recording, which has a perfect sense of spaciousness together with perfect clarity.
I hope I will be believed when I say that I have no link of any kind with Naxos. I collect their discs because of what these are and because of what my tastes and standards in good music are. This particular disc is from this very year 2005, and the recording was done in Chancelade Abbey in the Dordogne. Over and above the learned inputs of Mr Pitts we are given brief resumes of all the performers, and all texts are provided with English translations. These latter are a great deal better than many I have seen in the last year or two. My suspicions having relaxed, I have been less hawk-eyed than sometimes, and I don't believe that there are any serious misrenderings. In the Veni Creator if the text is right at lines 11-12 the meaning must be `Thou duly enriching our mouths with the promised utterance of the Father'; 4 lines later `perpetim' is a simple misprint for `perpeti', but as usual the translator thinks `perpeti' is some kind of adjective. It is a prolative infinitive, and lines 15-16 therefore mean `Strengthening what in our bodies is weak so as to be steadfast through virtue'.
Go forth in droves at the Christmas season and acquire this disc.
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Schubert: Masses Nos. 2 & 6
Manufacturer: Telarc ProductGroup: Music Binding: Audio CD All Works by Schubert
| Schubert, Franz
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ASIN: B000003CVY Release Date: 1990-05-07 |
Tracks:
- l. Kyrie - David Gordon
- ll. Gloria - David Gordon
- lll. Credo - David Gordon
- lV. Sanctus - David Gordon
- V. Benedictus - David Gordon
- Vl. Agnus Dei - David Gordon
- l. Kyrie - Glenn Siebert
- ll. Gloria - Glenn Siebert
- lll. Credo - Glenn Siebert
- lV. Sanctus - Glenn Siebert
- V. Benedictus - Glenn Siebert
- Vl. Agnus Dei - Glenn Siebert
Customer Reviews:
OUTSTANDING.......2007-07-25
Schubert Masses Nos. 2 & 6.......2007-03-11
a voice teacher and early music fan.......2007-02-18
Among Schubert's vocal works are many with religious texts, most intended for service use. The majority of these, including his first 5 Mass settings, were written for specific occasions and received performances soon after being completed, but this was not the case with his Sixth Mass, which lay unperformed until a year after his death.
In his settings of the mass, Schubert took Romantic liberties, omitting words, repeating words,or even entire paragraphs, thus treating the text not as unchangeable doctrine, but as a flexable libretto to be subservient to his artistic needs. His setting made significant omissions in the Gloria and Credo texts. Some sentences are omitted in all six of his masses, leading to speculation that he dissented from such teachings as the Church's divine authority.
The G major Mass was composed in 1815, and is simple and tuneful, direct and innocent in its idiom. He wrote it in 6 days; it is a small-scaled work accompanied by strings and organ.
The Mass in E-flat major is the product of that remarkable surge of new music that Schubert produced in his final year. Musically it has two aspects: it follows traditional practise in overall shape and construction. However, we encounter, in its harmonic language, Schubert, the Romantic ,using daring chromatic digressions and frankly pictorial writing with telling dramatic effect. This is basically a choral mass, and the soloists are used sparingly.
The performance of the soloists is excellent, and who but a Robert Shaw could bring out the best of the Chorus and Orchestra? Shaw was such a genius in the art of choral performance, but fortunately for us, he left much of his work behind on several recordings. While I enjoy both of these Masses, my preference still leans to the g major. probably because of its more traditional sound.
YES!.......2003-04-17
This is a Must Have choral CD!.......2002-04-22
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Bach: Cantatas & Masses
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
| Bach, Johann Sebastian
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ASIN: B000090WC6 Release Date: 2004-02-10 |
Tracks:
- Aus Der Tiefen Rufe Ich, Herr, Zu Dir - Chorus Of Collegium Vocale, Ghent
- So Du Willst, Herr, Sunde Zurechnen - Barbara Schlick
- Ich Harre Des Herrn - Barbara Schlick
- Meine Seele Wartet Auf Den Herrn - Barbara Schlick
- Israel, Hoffe Auf Den Herrn - Barbara Schlick
- Herr, Wie Du Willt, So Schick's Mit Mir - Barbara Schlick
- Ach, Senke Doch Den Geist Der Freuden - Barbara Schlick
- Ach, Unser Wille Bleibt Verkehrt - Barbara Schlick
- Herr, So Du Willst - Barbara Schlick
- Das Ist Der Vaters - Barbara Schlick
- Herr, Gehe Nicht Ins Gericht Mit Deinem Knecht - Barbara Schlick
- Mein Gott, Verwirf Mich Nicht Alt - Barbara Schlick
- Wie Zittern Und Wanken - Barbara Schlick
- Wohl Aber Dem, Der Seinen Burgen - Barbara Schlick
- Kann Ich Nur Jesum Mir Zum Freunde Machen - Barbara Schlick
- Nun, Ich Weiss, Du Wirst Mir Stillen - Barbara Schlick
Tracks:
- Brich Dem Hungrigen Dein Brot - Charles Brett
- Der Reiche Gott Wirft Seinem Uberfluss - Charles Brett
- Seinem Schopfer Noch Auf Erden - Charles Brett
- Wohlzutun Und Mitzuteilen - Charles Brett
- Hochster, Was Ich Habe - Charles Brett
- Wie Soll Ich Dir, O Herr - Charles Brett
- Selig Sind, Die Aus - Charles Brett
- Wer Nur Den Lieben Gott Lasst Walten - Charles Brett
- Was Helfen Uns Die Schweren Sorgen? - Charles Brett
- Man Halte Nur Ein Wenig Stille - Charles Brett
- Er Kennt Die Rechen Freudenstunden - Charles Brett
- Denk Nicht In Deiner Drangsalshitze - Charles Brett
- Ich Will Auf Den Herren Schaun - Charles Brett
- Sing, Bet Und Geh Auf Gottes Wegen - Charles Brett
- Was Willst Du Dich Betruben - Charles Brett
- Denn Gott Verlasset Keinen - Charles Brett
- Auf Ihm Magst Du Es Wagen - Charles Brett
- Wenn Auch Gleich Aus Der Hollen - Charles Brett
- Er Richt's Zu Seinen Ehren - Charles Brett
- Drum Ich Mich Ihm Ergebe - Charles Brett
- Herr, Gib, Dass Ich In Dein' Ehre - Charles Brett
Tracks:
- Kyrie - Christoph Pregardien
- Gloria In Excelsis Deo - Christoph Pregardien
- Domine Deus - Christoph Pregardien
- Qui Tollis Peccata Mundi - Christoph Pregardien
- Quoniam Tu Solus Sanctus - Christoph Pregardien
- Cum Sancto Spiritu - Christoph Pregardien
- Kyrie - Christoph Pregardien
- Gloria Excelsis Deo - Christoph Pregardien
- Gratias Agimus Tibi - Christoph Pregardien
- Domine Deus - Christoph Pregardien
- Quoniam Tu Solus Sanctus - Christoph Pregardien
- Cum Sancto Spiritu - Christoph Pregardien
Tracks:
- Kyrie - Christoph Pregardien
- Gloria In Excelsis Deo - Christoph Pregardien
- Gratias Agiumus Tibi - Christoph Pregardien
- Domine Fili Unigenite - Christoph Pregardien
- Qui Tollis Peccata Mundi - Christoph Pregardien
- Cum Sancto Spiritu - Christoph Pregardien
- Kyrie - Christoph Pregardien
- Gloria In Excelsis Deo - Christoph Pregardien
- Domine Deus, Rex Coelestis - Christoph Pregardien
- Qui Tollis Peccata Mundi - Christoph Pregardien
- Quoniam Tu Solus Sanctus - Christoph Pregardien
- Cum Sancto Spiritu - Christoph Pregardien
- Sanctus - Christoph Pregardien
Customer Reviews:
Great music, great performances.......2006-11-17
Radiant!.......2004-02-20
Herreweghe is one of my favorite Baroque conductors, finding, as he does, a vitality and vibrancy in his period instrumentation. The musicians and soloists of the Ghent-based Collegium are of uniformly fine quality and the recording is up to Virgin's excellent standards.
If you own Herreweghe's stunning version of the Mass in B Minor, buy this. You won't be disappointed. I would've paid full price for a collection this sublime.
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