| 1. Ain't Changing My Name |
| 2. Can I |
| 3. Hands Up - E.J., Prince EP |
| 4. Bring It |
| 5. Hood Life |
| 6. Day (Never) |
| 7. He So |
| 8. F**k It |
| 9. They Didn't Know |
| 10. It's Alright |
| 11. Never Understand |
| 12. Go Hard |
| 13. One Day |
| 14. Hey World (Skit) |
| 15. This All We Got |
| 16. Do It |
| 17. Hold Me Down [*] |
Editorial Reviews
Product Description
Prepare yourself for Prince EP and his debut album, For The Six. New Orleans native prides himself on being multi-dimensional. 17 tracks including a bonus track, 'Hold Me Down' (Featuring The AVS Family). Lightyear. 2003.
One will have to go to other places to find background on these marvelous compositions as the liner notes only list perfomer and date recorded.
You certainly can't beat the price!
The opening track,"Endless Reverie",evokes vast desert spaces. It seduces the listener into a spiritual journey. "Spring Arrives" is a musical oasis. "Abode" sounds ancient and modern at once,in which Azam Ali sings of longing for her homeland of Iran. "Forty One Ways" has an urgency driving it forward, with its haunting opening "forty one ways to die,one strong will to live. " "The Tryst" is at once spiritual and erotic; Azam Ali sings of her own sin&being unworthy to enter her lover's garden (which almost sounds like Christian rock-yet it's not)."I am a stranger in this world" is unearthly,expressing desire for union with the eternal.
Azam Ali's spirituality shines in her songs. She does not resort to hoary,sappy cliches. It's as if Teresa of Avila's "The Interior Castle" or John of the Cross' "Ascent of Mount Carmel" were given sonic life. Azam Ali has had an amazing career so far;she headed Vas,now she fronts Niyaz.The best is yet to come.
This time around, she is supported by King Crimson's Pat Mastelotto whose amazing percussion work on the opening song "Endless Reverie", blended with Ali's impossibly beautiful vocals, is like the perfect combination of tribal beats and electronics, something we've never heard from Ali before. Another Crimson member, Trey Gunn, also appears on the album, and even co-wrote the mood-intensive piece "The Tryst", employing minimal guitar effects that underlie Ali's vocal lament. Her velvet vocals convey sensuality and heartfelt emotion, and are carefully placed atop an ethereal guitar theme. It is amazing to hear Ali sing in English -- her older fans know how moving she can get when she sings in Persian and Indian, but to see that she is actually capable of applying her talents to more "straightforward" pieces is nothing short of astounding. Unlike her works with Vas and Niyaz, there are a few non-Eastern songs on this album, such as the album opener and this one, where you'll get lost in the beauty of forlornly ringing guitar notes and dark mysticism.
That said, while the titles are in English, not all of them are sung in this language. Ali still uses lots of Persian and Indian lyrics in her songs. Her artistic strength mostly lies in crafting unique Middle Eastern pieces highlighting her vocals and it is hard to capture the intensity without using the region's language and instruments (as on the Indian dirge "Abode"). Her voice is so vulnerable and beautiful I don't even know how to describe it. Having discovered her on Mercan Dede's Breath album where she does her unique Persian-styled vocal melodies mostly going for wordless harmonies, I felt compelled to seek everything she participated in and was absolutely thrilled she experiments with the same style on songs like "I Am a Stranger in This World", which she co-wrote with Loga Roman Torkian, her partner in Niyaz; and the mesmerizing "From Heaven to Dust", an atmospheric elegy drenched in western beats and Indian percussion. "In Other Worlds" is one of the darkest songs on the CD -- it contains strummed acoustic guitars that slowly disappear under a wall-of-sound keyboards that blanket everything but Ali's wonderful voice. Though there is a vague Persian sadness incorporated into the song, this is yet another attempt to branch out and explore new territories.
The production and sonic quality of the album are mindblowing. An incredible amount of nuance and coherent body of work serve to heighten the unmatched emotional power of Ali's voice and compositional skills to a higher level. She has now proved that she is so much more than just a singer with a great voice; her understanding of melody, rhythm, and vocal arrangement leaves me speechless. Check this disc out even if you're remotely interested in world music that is unafraid to infuse electronics and minimalism into its tapestry.
What makes "Elysium from the Brave" stand out from Azam Ali's previous work is that she sings 6 out of 9 tracks in English (the remaining three are in Farsi). The mystical lyricism, which was written by Azam Ali herself, is hauntingly beautiful and reminds us about our personal quests for Elysium. Some of the lyrics however, are difficult to make out, but this didn't bother me at all because it's not so much about digging up words, but LISTENING and EXPERIENCING the MUSIC. Those who are familiar with the band "Cocteau Twins" (one of my favorite bands) and the lead singer, Elizabeth Fraiser, shouldn't be bothered by not being able to hear the lyrics since the "Cocteau Twins" are known for their indecipherable lyrics.
Everyone wants to escape their sorrows and hardships, everyone wants to feel Loved, everyone wants to be happy; these universally shared human longings are what unite us as a species. Unlike the hoards of hip-hop and pop music out there that exploit our animalistic nature, Azam Ali's voice is cry for a return to the human spirit. It would not be inaccurate to say that many humans are out of touch with their spiritual nature, and I am not sure who the blame goes to, but I believe attracting the population through an appealing form of art, such as music, is a powerful way to help promote and encourage spirituality. "Elysium for the Brave" features powerful and thought-provoking lyrics voiced by a divinely gifted woman who sings over stimulating modern day beats and rhythms, which make this album a unique blend of the ancient and the new.
My favorite tracks are:
1. Endless Reverie, 3. In Other Worlds, 5. Forty One Ways, 7. From Heaven to Dust (a nice BASS track) 8. I am a Stranger in this World, 9. In This Divide (the instrumentation is amazing)
Johan Sebastian Bach (1685-1750) was a devout German Lutharan who devoted much of his life to composing music for various church functions and events in his position of 'head music master" in his different appointments. As such, we see often in Bach's music a "pastoral" quality - whose effect is to encourage, comfort and renew the spirit. No piece (and title) is more demonstrating of this quality then the opening "Sheep May Safely Graze" which is perhaps the finest recording of this magnificant and comforting piece by the Stuttgart Orchestra who brings a most expressive quality to the music. Its inter-weaving and delicate melodies give rise to serene visions of carefree green pastures and the sense that all is well. So, perhaps in that vein, this music has some commonality to traditional lullabies.
But, even though the music is serene, there is much musically to hear in these tunes - for those still awake. Bach's genius is seen here for setting a lyrical solo instrument (violin, oboe, cello) against a stable, comforting background orchestra pulsing away in Bach fashion. Many of these works are a typical style of Bach music known as "fugues" - which is a type of music where two-three instruments simultaneously play different melodies that all blend together in splendid harmony. This consistent, calming rhythm with gently soaring melodies are part of what makes such music suitable for bedtime. Finally, one who is just nodding off can appreciate that the last two selections are the most peaceful with the fewest notes coming from the solo guitar of Pepe Romero. They end in a whisper which should be right about the time you fall asleep and the CD player quietly clicks off. This is a really wonderful compilation of Bach's music that should be pleasing to both those just looking for some nice, relaxing music - or even to the long-term classical collector who already has 30 CD's of Bach's music but values the variety and soothing qualities of such 'even-temperament' collections.
But the important thing is the MUSIC & I'll nevertheless give this CD set 5 stars-- this is essential listening!
I think of Bach's cello suites like the Dao De Jing-- it is open to so many endless possibilities in translation. But what I find so appealing in this recording is Ma's fine sense of balance between a 'classical' & 'romantic' approach to the cello suites. Ma is certainly not metronomically rigid with his reading, but neither is it too free. I think he strikes just the right balance in these recordings.
The famous Prelude of the first suite is at a surprisingly fast tempo (so I thought) but it flows-- it is not hurried-- one almost gets the impression of movement but stillness at the same time.
Though for a solo instrument, Bach's cello suites often sound like two, sometimes even three instruments playing at once! And what is amazing is Ma takes on the different 'voices' like an actor playing out all the parts-- the different implied musical lines of this virtual polyphony are brought out by Ma's playing by differences in bowing, volume & character.
The recording itself is so amazingly warm-- you can really feel the wood in the recording. Yo-Yo Ma's cello dances, leaps, sings & soars here.
The sixth suite is my personal favourite, especially the gavotte. It was listening to the sample here on Amazon that convinced me that I needed to own this recording. It is one of the most beautiful things Bach ever wrote I think.
I have three other recordings of the cello suites, but I confess that this is by far the most human & the most warm. Bach's cello suites are perhaps some of the greatest music EVER written & Ma simply channel's the music so exquisitely here.
You have not lived if you haven't listened to Bach's suites for cello! Do yourself a favour & get this recording-- you won't be sorry! I will cherish this recording always...
The fluidity of Yo-Yo Ma's playing is incredible. What I've come to appreciate more and more is his willingness - eagerness to have fun and take risks. From his recordings with Bobby McFerrin to his Obrigado Brazil recordings to simply Baroque all these recordings show a man who is so totally comfortable in any style or setting in which he might choose to play.
My congratulations to the recording staff "behind the scenes" as they most certainly had to have been inspired, judging by the quality recording they have produced. Too many times, really great performances can fail to convey the sense of presence that this recording has captured. They have given us a gift no matter what price you've paid for this CD; he's in your room, complete with the sense of ambiance and room boundaries that he was recorded in.
Don't bother with all the surround sound settings! Throw that all away and simply listen in two-channel stereo.
When people have written about what nice background music this makes I can only grin inside. Yes, it's charming. Yes, it's easy to live around but it also can compel you to sit and listen. How often does that happen?
This is a lovely recording of a masterful performance by one heck of a talented musician.
avec des aspects plus méditatifs, quoiqu'un peu «pathos» à certains moments.
Bonne version si vous cherchez autre chose que l'accent baroque.
Merci d'avoir lu mon humble avis. R.R
Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.
The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.
Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.
Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.
Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.
This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05
Mystical.
Mr Gurdjieff sang or hummed his songs and Thomas deHartmann "wrote them down and added harmony". Hard to tell where Mr. G stops and deHartmann starts, but we will never know. Mr G speaks of Objective Music and the vast majority pieces of subjective music. This is the former.
I must confess that many other peformances and arrangements of the music of Gurdjieff/de Hartmann, the way it was "supposed to be played", left me cold. Most of the other renditions I heard were played by those Drunk with Orthodoxy, amaturish or just plain lacking in musical ability.
This version is a revelation!
I think G would approve of this.
I like this, I think that the arrangements for cello and piano instead of just piano, as written, is an artistic triumph. The cello played by Anja Lechner expresses the peace and meditative sadness inherent in the music, even if that wasn't the way it's usually played. Composers are often not the best intepreters of their music.
That having been said there are three part to this music, pieces by G/deH, Tsabropoulos and then more G/deH and when the pianist sticks his own works in the middle of Mr G's the quality of composition falls somewhat. His compositions are or similar mood and type to G/deH, but really don't have the same achieve the same heights of depth and soul. (Mr G would say they are not Objective Music, I guess.) Perfomances of all pieces are uniformly good.
I would hope this group will arrange more of Mr G's music in this format in the future.
Recommended.
The arrangements do not seem to have captured the spirit of Gurdjieff's music very well. If someone did with Beethoven what has been done with Gurdjieff's music here, I don't think it would be taken seriously.
If you are interested in a new "twist" on Gurdjieff's music, then you may enjoy this. If you enjoy Gurdjieff's music closer to the way which he composed it, then you will want to look for a different recording.
In the 1920's, at his Institute for the Harmonious Development of Man, Gurdjieff continued this work by collaborating with Thomas de Hartmann on creating an "objective music". A music that "would work upon all listeners equally, focusing their mental life and bringing them to a new relationship with the living universe". It is probably Keith Jarrett, who has worked closely with the Gurdjieff Societies of both London and New York, that has produced the most "authentic" or "objective" reading of Gurdjieff's music in recent years.
On this ECM New Series disc of 2004, "Chants, Hymns and Dances", Anja Lechner and Vassilis Tsabropoulos decided to take a more liberal, "subjective", approach. Their interest in these compositions is perhaps more "musical than philosophical". Their suitability for this task should be apparent. Lechner's most recent work has involved interpreting the music of both Armenian Composer Tigran Mansurian and the Ukrainian Valentin Silvestrov. While Tsabropoulos, for his part, has worked with ancient Byzantine music and the music of the Greek Orthodox Church.
According to the informative liner notes by Steve Lake, "This music exists for the individual to make of it what he or she will, according to capacity". Lechner and Tsabropoulos both have deep experience with composed music and also with the process of free improvisation. Indeed, these two performers brilliantly interpret Gurdjieff's music with gentle assurance and a bright spontaneity. The five original compositions on this disc by Tsabropoulos even suggest an affinity with the Gurdjieff sensibility that borders on predestination.
"Chants, Hymns and Dances" is worthy of repeated encounter and remains serenely vital with each new audition. This is an ambiguous music that defies easy spiritual classification.
While 'classical purists' may raise their brow because of the many flute/harp selections (citing that Bach never composed any music for the harp), the person buying this CD for inspiring and relaxing mood music should be be delighted just fine with these "transcriptions" from piano to harp. The harp has a special niche for creating the most serene of atmospheres which it does not fail to do here. The solo Suite in E-flat was originally composed for solo violin but sounds much more smooth and dreamy on the harp - a piece very well done. However, some pieces are so serene that you might fall asleep at the breakfast table - hence, the sub-title "A leisurely way to start your day." Actually, it could easily be titled, "Bach for Bedtime" as the selections are all pretty relaxed and on the quiet side. So, if the hyper-energy of Mozart symphonies is too much for your mornings or if the sharp surges of Beethoven's music unsettle you, then these calmer Bach selections should be a better way to ease into the day.
If you like the flavor of Baroque music, "Bach for Book Lovers" in the same series is a good choice and has more solo piano selections for the piano lover. "Bach for Bedtime" is also a wonderful (non-duplicating) collection of some of Bach's most serene music and is also recommended. Perhaps the most calming and sedating music in this Philip's series is "Baroque for Bathtime" which can easily put you to sleep - in a good way - with or without the bath. All are high quality with well-selected pieces from the treasures of classical music's most influential composer of the Baroque era - Johann Sebastian Bach.
1. In the first movement of the Brahms G Major Op.111, the string quintet elects not to take the repeat in m.56, so you will never hear the first ending on this recording and thus only get one shot at the awesome cello opening. I haven't listened closely enough to the other pieces on this set to discern if they avoided other repeats or not, but for the most part, they appear to be there.
2. There are technical printing problems. Though the recording is so live that you can hear the breath of the musicians and their fingers fall on the strings, there are some actual technical pops in the recording. Perhaps it was a transfer problem from analog to digital, as the recordings are old. Most of these pops are minor, but they are dissapointing for an audiophile such as myself. My CDs are pristine (no scratches at all), and even the first time playing them these pops were there. So, here's the list of what I've found thus far:
CD 3:
Track 6: Pops & clicks at 1:19 & 1:22.
CD 5:
Track 1: Pops at 6:01.
Track 2: Pops & clicks at 0:13, 3:56, & 6:16.
Track 5: Pop at 12:07.
Track 7: Pop & clicks at 6:11, 7:45, 7:51-7:52 (these are quite noticable), 7:59, 8:03, 8:11.
Track 8: Pop at 7:34.
It is a well-played set; hopefully they will get the printing correct on the next batch.
Because they lasted such a long time and toward the end didn't play at their best, I found reasons to overlook the Madeus Qt. But in this 9-CD set of the complete chamber music of Brahms, there are some sublime performances--I would especially point to both String Sextets, for example. In every instance the style of the Amadeus is full of vibrancy and joy, and their ensemble isn't baased on technical perfection but rather a kinship of musical taste and feeling (this puts them poles apart from the Emerson Qt., for me at least). I also love the Brahms chamber performances on Sony with Yo-Yo Ma, Isaac Stern, emanuel Ax, and friends, but this DG set is altogether sweeter and more lyrical.
Since Amazon neglects to list the additional players who join the Amadeus for the works that aren't soely for a string quartet, here's the run-down from Tower:
1. Quartet for Strings no 1 in C minor, Op. 51 no 1
Ensemble: Amadeus String Quartet
2. Quartet for Strings no 2 in A minor, Op. 51 no 2
Ensemble: Amadeus String Quartet
3. Quartet for Strings no 3 in B flat major, Op. 67
Ensemble: Amadeus String Quartet
4. Quintet for Piano and Strings in F minor, Op. 34
Ensemble: Amadeus String Quartet
Performer: Eschenbach, Christoph
5. Quintet for Strings no 1 in F major, Op. 88
Ensemble: Amadeus String Quartet
Performer: Aronowitz, Cecil
6. Quintet for Strings no 2 in G major, Op. 111
Ensemble: Amadeus String Quartet
Performer: Aronowitz, Cecil
7. Trio for Clarinet, Cello and Piano in A minor, Op. 114
Performer: Leister, Karl; Eschenbach, Christoph; Donderer, Georg
8. Quintet for Clarinet and Strings in B minor, Op. 115
Ensemble: Amadeus String Quartet
Performer: Leister, Karl
9. Sextet for Strings no 1 in B flat major, Op. 18
Ensemble: Amadeus String Quartet
Performer: Aronowitz, Cecil; Pleeth, William
10. Sextet for Strings no 2 in G major, Op. 36
Ensemble: Amadeus String Quartet
Performer: Aronowitz, Cecil; Pleeth, William
3 string quartets;
2 string quintets;
2 string sextets;
a quintet for piano, 2 violins, viola, and violoncello;
a trio for piano, clarinet, and violoncello;
and a quintet for clarinet, 2 violins, viola, and violoncello.
All this wealth of extraordinary music is in a 5 CD set, performed by one of the finest chamber music ensembles in the world, with the added artistry of Christoph Eschenbach (piano), Cecil Aronowitz (viola), and Karl Leister (clarinet).
One CD is 50' 36 in length, 2 are in the low 60's, and 2 are in the low 70's.
I have an inexpensive CD player, but this music emerges from it with the sharpness of etched glass, the smoothness of warmed honey, and the softness of rivers of silver in moonlight.
This is music to celebrate the joy and the pathos of life, played with soul, sensitivity, and power. Buy it and treasure this gift to yourself.
Prepare yourself for Prince EP and his debut album, For The Six. New Orleans native prides himself on being multi-dimensional. 17 tracks including a bonus track, 'Hold Me Down' (Featuring The AVS Family). Lightyear. 2003.
For the Six,Prince EP,Lightyear,Pop,Rap,Rap & Hip-Hop
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Essential Bach
Manufacturer: Decca ProductGroup: Music Binding: Audio CD  All Works by J.S. Bach
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ASIN: B00004SPLF Release Date: 2000-06-13 |
Tracks:
- Toccata And Fugue In D Minor: Toccata in D minor
- Orchestral Suite No. 3 In D Major: Air
- Prelude in C major
- Brandenburg Concerto No. 4 In G Major: Allegro
- Goldberg Variations: Aria
- Sleepers Awake: Wachet auf, ruft uns die Stimme
- Violin Concerto No.1 In A Minor: I Allegro moderato
- Jesu, joy of man's desiring
- Keyboard Concerto No.4: Allegro: I Allegro
- Cello Suite No.3: Bourees I & II: Bourrees I And II
- Concerto for Oboe & Violin In C Minor: Adagio
- Mass In B minor: Crucifixus
- Cello Suite No.1 in G Major: Praeludium
- French Suite No.5 in G major: Gigue
- Prelude in D Minor
- Brandenburg Concerto No.5 In D Major: III Allegro
- Matthaus-Passion: St Matthew Passion
Tracks:
- Brandenberg Concerto No.2 In F Major: I Allegro
- Concerto For 2 Violins In D Minor: II Largo, ma non tanto
- Lute Suite In E Major: Prelude
- Cantata: Sheep may safely graze
- Cello Sonata In G Minor: II Adagio (excerpt)
- Italian Concerto In F Major: II Allegro
- Weihnachtsoratorium: Pastoral sinfonia
- Violin Concerto No.1 In A Minor: II Andante
- Partita No.1 In B Flat Major: Gigue
- Orchestral Suite No.2 In B Minor: Menuet
- Orchestral Suite No.2 In B Minor: Badinerie
- Oboe Concerto In F Major: Siciliano
- Brandenberg Concerto No.3 In G Major: I Allegro
- Violin Partita No.2 In D Minor: Allemande
- Violin Partita No.2 In D Minor: Gigue
- Keyboard Concerto No.2 In E Major: I Allegro (excerpt)
- Cantata: Sanctify us by thy goodness
- Keyboard Concerto No.5 In F Minor: II Largo
- Concerto In A Minor: I Allegro
Amazon.com
It is not possible to fit 36 Bach masterpieces on two CDs, so what Essential Bach does is present individual movements from across a range of the composer's work. The anthology is clearly aimed at the newcomer, and the absence of booklet notes to put the music in context is disappointing. We are only given titles, performers, and what films the extracts have been featured in, from Rollerball to The English Patient.On the plus side, most if not all of the music is instantly recognizable, by melody if not by name. Everything from the Brandenburg Concertos to "Air on a G String" to the B Minor Mass and St. Matthew Passion is represented. Performances range from 1960 to 1993, encompassing both early instrument and modern orchestra interpretations by a wide variety of forces, including Sir Neville Marriner with the Academy of St. Martin in the Fields and Raymond Leppard leading the English Chamber Orchestra. Given such diversity the result is unavoidably a patchwork, albeit one made from the finest materials, and as such is perhaps best treated as a sampler to aid exploration of the vast legacy of one of the very greatest composers who ever lived. --Gary S. Dalkin, Amazon.co.uk
Customer Reviews:
so amazing .......2006-06-14
Essential Bach is OK.......2005-09-29
Excellent collection of mostly recognizeable music.......2005-03-18
Exquisite Essential Bach.......2005-02-01
One will have to go to other places to find background on these marvelous compositions as the liner notes only list perfomer and date recorded.
Good.......2004-07-13
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ASIN: B0000029PM Release Date: 1996-10-29 |
Tracks:
- Oklahoma!: Oh, What A Beautiful Mornin' - John Raitt/Franz Allers
- On The Town: New York, New York - Michael Kermoyan/Adolph Green/John Reardon/Cris Alexander & Chorus/Leonard Bernstein
- Annie Get Your Gun: I Got The Sun In The Morning - Doris Day/Franz Allers
- Fiddler On The Roof: If I Were A Rich Man - Topol/Gareth Davies
- West Side Story: Tonight - Larry Kert/Carol Lawrence/Max Goberman
- The Sound Of Music: The Sound Of Music - Mary Martin/Frederick Dvonch
- My Fair Lady: On The Street Where You Live - Jerry Lanning/Theodore Saidenberg
- Annie: Tomorrow - Andrea McArdle/Peter Howard
- The Music Man: Seventy-Six Trombones - The Boston Pops Orchestra/John Williams
- Anything Goes: You're The Top - Eileen Rodgers/Hal Linden/Julian Stein
- Bye Bye Birdie: Put On A Happy Face - Dick Van Dyke/Elliot Lawrence
- Mame: Open A New Window - Angela Lansbury & Cast/Don Pippin
- Strike Up The Band: Strike Up The Band - The Chestnut Brass Co.
- Sweet Charity: Hey, Big Spender - Helen Gallagher/Thelma Oliver/Fan-Dango Girls/Fred Werner
- Bells Are Ringing: Just In Time - Judy Holliday/Sydney Chaplin/Milton Rosenstock
- Gypst: Together, Wherever We Go - Ethel Merman/Jack Klugman/Sandra Church/Milton Rosenstock
- Cabaret: Cabaret - Jill Haworth/Harold Hastings
- Phantom Of The Opera: The Music Of The Night - The Boston Pops Orchestra/John Williams
- Show Boat: Ol' Man River - William Warfield/Franz Allers
- A Chorus Line: What I Did For Love - Priscilla Lopez & Cast/Don Pippin
- A Little Night Music: Send In The Clowns - Glynis Johns/Harold Hastings
Customer Reviews:
Great to Hear All those great Voices from the Past.......2007-07-05
You certainly can't beat the price!
A Good One!.......2006-11-10
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Elysium for the Brave
Azam Ali Manufacturer: Six Degrees ProductGroup: Music Binding: Audio CD General
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ASIN: B000FTBK9G Release Date: 2006-07-25 |
Tracks:
- Endless Reverie
- Spring Arrives
- In Other Worlds
- Abode
- Forty One Ways
- The Tryst
- From Heaven To Dust
- I Am A Stranger In This World
- In This Divide
Amazon.com
For this, her second solo album, Azam Ali, lead vocalist of Vas and Niyaz, takes her patented polycultural blend of ancient and contemporary influences even farther beyond the stratosphere. That she is now a veteran of numerous film scores, including Children of Dune, Earthsea, and Matrix Revolutions, perhaps explains her present more cinematic direction. Born in Iran, reared in India and the US, and gifted with a voice of improbable tonal breadth, flexibility, and beauty, she is backed by collaborators like Trey Gunn (King Crimson), Chris Venna (Nine Inch Nails), Turkish DJ/composer Mercan Dede, the Japanese ensemble Kodo, and Grateful Dead drummer/world percussion enthusiast Mickey Hart. One of the more interesting conundrums inherent in Ali's work is that no matter how much electronic technology she employs, her immersion in her heritage unfailingly comes across loud and clear. Whether she is singing in English, which predominates on these sessions, Farsi, or another language, a prayerful sensuality informs every note. It's as though a sexy Tanagra temple figurine or silk-clad court lady from an antique parchment were to suddenly turn her lovely head and step daintily into the modern world, unfurling precisely the kind of voice one expected but never could have imagined. --Christina RodenAlbum Description
"Elysium For The Brave", Azam's second solo album, signals a new turn in her musical evolution. The album, her most ambitious work to date, brings together musicians from varied musical backgrounds performing in diverse permutations. The result is a highly coherent body of work that seamlessly weaves together all of Azam's cultural and musical influences into a haunting tapestry of atmospheric rock, electronic, and global sounds. Singing predominantly in English for the first time, the songs are based on lyrics written by Azam herself and reveal a poetic lyricism heard only in glimpses in her previous work.Customer Reviews:
Mystical journey into the desert.......2007-06-07
The opening track,"Endless Reverie",evokes vast desert spaces. It seduces the listener into a spiritual journey. "Spring Arrives" is a musical oasis. "Abode" sounds ancient and modern at once,in which Azam Ali sings of longing for her homeland of Iran. "Forty One Ways" has an urgency driving it forward, with its haunting opening "forty one ways to die,one strong will to live. " "The Tryst" is at once spiritual and erotic; Azam Ali sings of her own sin&being unworthy to enter her lover's garden (which almost sounds like Christian rock-yet it's not)."I am a stranger in this world" is unearthly,expressing desire for union with the eternal.
Azam Ali's spirituality shines in her songs. She does not resort to hoary,sappy cliches. It's as if Teresa of Avila's "The Interior Castle" or John of the Cross' "Ascent of Mount Carmel" were given sonic life. Azam Ali has had an amazing career so far;she headed Vas,now she fronts Niyaz.The best is yet to come.
World music - folk rock from the middle east.......2007-05-12
Pure and captivating........2007-04-24
This time around, she is supported by King Crimson's Pat Mastelotto whose amazing percussion work on the opening song "Endless Reverie", blended with Ali's impossibly beautiful vocals, is like the perfect combination of tribal beats and electronics, something we've never heard from Ali before. Another Crimson member, Trey Gunn, also appears on the album, and even co-wrote the mood-intensive piece "The Tryst", employing minimal guitar effects that underlie Ali's vocal lament. Her velvet vocals convey sensuality and heartfelt emotion, and are carefully placed atop an ethereal guitar theme. It is amazing to hear Ali sing in English -- her older fans know how moving she can get when she sings in Persian and Indian, but to see that she is actually capable of applying her talents to more "straightforward" pieces is nothing short of astounding. Unlike her works with Vas and Niyaz, there are a few non-Eastern songs on this album, such as the album opener and this one, where you'll get lost in the beauty of forlornly ringing guitar notes and dark mysticism.
That said, while the titles are in English, not all of them are sung in this language. Ali still uses lots of Persian and Indian lyrics in her songs. Her artistic strength mostly lies in crafting unique Middle Eastern pieces highlighting her vocals and it is hard to capture the intensity without using the region's language and instruments (as on the Indian dirge "Abode"). Her voice is so vulnerable and beautiful I don't even know how to describe it. Having discovered her on Mercan Dede's Breath album where she does her unique Persian-styled vocal melodies mostly going for wordless harmonies, I felt compelled to seek everything she participated in and was absolutely thrilled she experiments with the same style on songs like "I Am a Stranger in This World", which she co-wrote with Loga Roman Torkian, her partner in Niyaz; and the mesmerizing "From Heaven to Dust", an atmospheric elegy drenched in western beats and Indian percussion. "In Other Worlds" is one of the darkest songs on the CD -- it contains strummed acoustic guitars that slowly disappear under a wall-of-sound keyboards that blanket everything but Ali's wonderful voice. Though there is a vague Persian sadness incorporated into the song, this is yet another attempt to branch out and explore new territories.
The production and sonic quality of the album are mindblowing. An incredible amount of nuance and coherent body of work serve to heighten the unmatched emotional power of Ali's voice and compositional skills to a higher level. She has now proved that she is so much more than just a singer with a great voice; her understanding of melody, rhythm, and vocal arrangement leaves me speechless. Check this disc out even if you're remotely interested in world music that is unafraid to infuse electronics and minimalism into its tapestry.
Wonderful.......2007-03-14
Mystic, Mesmerizing, and Beautiful.......2007-03-11
What makes "Elysium from the Brave" stand out from Azam Ali's previous work is that she sings 6 out of 9 tracks in English (the remaining three are in Farsi). The mystical lyricism, which was written by Azam Ali herself, is hauntingly beautiful and reminds us about our personal quests for Elysium. Some of the lyrics however, are difficult to make out, but this didn't bother me at all because it's not so much about digging up words, but LISTENING and EXPERIENCING the MUSIC. Those who are familiar with the band "Cocteau Twins" (one of my favorite bands) and the lead singer, Elizabeth Fraiser, shouldn't be bothered by not being able to hear the lyrics since the "Cocteau Twins" are known for their indecipherable lyrics.
Everyone wants to escape their sorrows and hardships, everyone wants to feel Loved, everyone wants to be happy; these universally shared human longings are what unite us as a species. Unlike the hoards of hip-hop and pop music out there that exploit our animalistic nature, Azam Ali's voice is cry for a return to the human spirit. It would not be inaccurate to say that many humans are out of touch with their spiritual nature, and I am not sure who the blame goes to, but I believe attracting the population through an appealing form of art, such as music, is a powerful way to help promote and encourage spirituality. "Elysium for the Brave" features powerful and thought-provoking lyrics voiced by a divinely gifted woman who sings over stimulating modern day beats and rhythms, which make this album a unique blend of the ancient and the new.
My favorite tracks are:
1. Endless Reverie, 3. In Other Worlds, 5. Forty One Ways, 7. From Heaven to Dust (a nice BASS track) 8. I am a Stranger in this World, 9. In This Divide (the instrumentation is amazing)
Average customer rating:
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Bach at Bedtime: Lullabies for the Still of the Night
Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B0000041E0 Release Date: 1995-10-17 |
Tracks:
- Sheep May Safely Graze
- Violin Concerto No.1 In A Minor: Andante
- Concerto In A For Oboe d'amore: Larghetto
- Orchestral Suite No. 2 in B Minor: Sarabande
- Christmas Oratorio: Sinfonia
- Violin Concerto No. 2 in E: Adagio
- Brandenburg Concerto No. 4 In G: Adante
- Concerto In D Minor For Two Violins: Largo ma non tanto
- Concerto In F For Oboe: Siciliano
- Brandenburg Concerto No. 5 In D: Affetuoso
- Sonata No. 1 In G For Cello & Piano: Andante
- Sinfonia, Part II 'Easter Oratorio': Adagio
- Partita In D Minor: Sarabande
- Suite in D: Sarabande
Customer Reviews:
Great CD.......2007-06-14
Mellow, Sleepy, Wonderful.......2005-10-27
Soothing Bach.......2005-04-29
Johan Sebastian Bach (1685-1750) was a devout German Lutharan who devoted much of his life to composing music for various church functions and events in his position of 'head music master" in his different appointments. As such, we see often in Bach's music a "pastoral" quality - whose effect is to encourage, comfort and renew the spirit. No piece (and title) is more demonstrating of this quality then the opening "Sheep May Safely Graze" which is perhaps the finest recording of this magnificant and comforting piece by the Stuttgart Orchestra who brings a most expressive quality to the music. Its inter-weaving and delicate melodies give rise to serene visions of carefree green pastures and the sense that all is well. So, perhaps in that vein, this music has some commonality to traditional lullabies.
But, even though the music is serene, there is much musically to hear in these tunes - for those still awake. Bach's genius is seen here for setting a lyrical solo instrument (violin, oboe, cello) against a stable, comforting background orchestra pulsing away in Bach fashion. Many of these works are a typical style of Bach music known as "fugues" - which is a type of music where two-three instruments simultaneously play different melodies that all blend together in splendid harmony. This consistent, calming rhythm with gently soaring melodies are part of what makes such music suitable for bedtime. Finally, one who is just nodding off can appreciate that the last two selections are the most peaceful with the fewest notes coming from the solo guitar of Pepe Romero. They end in a whisper which should be right about the time you fall asleep and the CD player quietly clicks off. This is a really wonderful compilation of Bach's music that should be pleasing to both those just looking for some nice, relaxing music - or even to the long-term classical collector who already has 30 CD's of Bach's music but values the variety and soothing qualities of such 'even-temperament' collections.
Great for kids!.......2001-11-29
My Kind of Bedtime.......2001-10-17
Average customer rating:
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Dinner Classics: The Italian Album
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ASIN: B0000026XP Release Date: 1990-05-17 |
Tracks:
- Canzon Septimi Toni No.2
- Concerto in E Major, Op. 8, No. 1: I-Allegro From Spring (La primavera)
- Overture (Allegro)
- from Concerto in G Major for 2 Guitars: I-Allegro
- from String Quartet in E Major Op. 13, No. 5: Minuetto
- from Sonata for Violin & Guitar: III-Menuetto: Allgretto
- from Sonata Concertata in A Major: III-Rondeau
- Cantabile for Violin & Guitar
- from Concerto for Guitar and Strings Orchestra, Op. 30: II-Andantino Siciliano
- Nocturne: Moderato from the ballet La Boutique Fantasque (after Rossini)
- from the Sebastian Suite: Barcarolle
- Dance for Six (from William Tell)
- La Donna E Mobile (from Rigoletto)
- Musetta's Waltz (from La Boheme)
- O Soave Fanciulla (Love Duet) from La Boheme
- Vissi D'Arte (from Tosca)
- Intermezzo: Andante Cantabile ( from Fedora)
- Introduction to Act I (from La traviata)
- Intermezzo (from Cavalleria rusticana)
- Celeste Aida (from Aida)
- O Mio Babbino Caro (from Gianni Schicchi)
Customer Reviews:
Bravo!.......2000-07-22
Outstanding compilation of the Italian classics,.......1999-05-01
Average customer rating:
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Bach: The Cello Suites Inspired By Bach, From The Six-Part Film Series / Yo-Yo Ma
Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
| Bach, Johann Sebastian
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ASIN: B0000029YB Release Date: 1998-02-17 |
Tracks:
- Suite No. 1 In G Major: Prelude - J. S. Bach
- Suite No. 1 In G Major: Allemande - J. S. Bach
- Suite No. 1 In G Major: Courante - J. S. Bach
- Suite No. 1 In G Major: Sarabande - J. S. Bach
- Suite No. 1 In G Major: Menuett 1 - 2 - J. S. Bach
- Suite No. 1 In G Major: Gigue - J. S. Bach
- Suite No. 2 in D minor: Prelude - J. S. Bach
- Suite No. 2 in D minor: Allemande - J. S. Bach
- Suite No. 2 in D minor: Courante - J. S. Bach
- Suite No. 2 in D minor: Sarabande - J. S. Bach
- Suite No. 2 in D minor: Menuett I 1 - 2 - J. S. Bach
- Suite No. 2 in D minor: Gigue - J. S. Bach
- Suite No. 3 In C Major: Prelude - J. S. Bach
- Suite No. 3 In C Major: Allemande - J. S. Bach
- Suite No. 3 In C Major: Courante - J. S. Bach
- Suite No. 3 In C Major: Sarabande - J. S. Bach
- Suite No. 3 In C Major: Bourree 1 - 2 - J. S. Bach
- Suite No. 3 In C Major: Gigue - J. S. Bach
- Suite No. 4 In E-Flat Major: Prelude - J. S. Bach
- Suite No. 4 In E-Flat Major: Allemande - J. S. Bach
- Suite No. 4 In E-Flat Major: Courante - J. S. Bach
Tracks:
- Suite 4 in E flat Major: Sarabande - J.S.Bach
- Suite 4 in E flat Major: Bouree 1- 2 - J.S.Bach
- Suite 4 in E flat Major: Gigue - J.S.Bach
- Suite 5 in C Minor: Prelude - J.S.Bach
- Suite 5 in C Minor: Allemande - J.S.Bach
- Suite 5 in C Minor: Courante - J.S.Bach
- Suite 5 in C Minor: Sarabande - J.S.Bach
- Suite 5 in C Minor: Gavotte 1 - 2 - J.S.Bach
- Suite 5 in C Minor: Gigue - J.S.Bach
- Suite 6 in D Major: Prelude - J.S.Bach
- Suite 6 in D Major: Allemande - J.S.Bach
- Suite 6 in D Major: Courante - J.S.Bach
- Suite 6 in D Major: Sarabande - J.S.Bach
- Suite 6 in D Major: Gavotte 1 - 2 - J.S.Bach
- Suite 6 in D Major: Gigue - J.S.Bach
Amazon.com essential recording
Though they were long misunderstood as mere technical hurdles, Bach's six suites for unaccompanied cello are among those rare works of music that offer inexhaustible rewards for performer and listener alike. Yo-Yo Ma gave a pathbreaking account of the suites back in the '80s (Suites for Unaccompanied Cello ) but returns to them here impelled by a unique and interdisciplinary approach. For this project, Ma engaged the talents of artists in different fields--ranging from a landscape artist to a Kabuki actor and figure skaters--to produce six short films as a visual correlative for the highly distinctive character of each suite. While the success of the films in illuminating Bach's creativity is decidedly uneven, Ma brings the music itself to life with a searing, quasi-vocal eloquence. His interpretations are probing, characterized by imaginative bowing and attention to the spacious architecture of Bach's score. This is especially clear in Ma's preference for broad, expansive tempos and patient spinning of filigreed detail. True, the generally Romantic cast of his conception can seem overdone and exaggerated in statement, as if Ma is more intent on overlaying his own personality on the discipline of the music. But the prayerful, meditative concentration he brings to the Sarabandes--listen to the single-lined, anguished tone painting in Suite 5--is utterly convincing. There is a sense of profound introspection here, while in the Sarabande of Suite 6 Ma's phrasing suggests we are in the same spiritual terrain as Beethoven's late quartets. Yet there is no lack of blistering energy and extroverted high spirits in some of the more overtly dance-oriented movements. While purists may complain of distortion in these accounts, Ma once again proves he has something vital to say with this music. --Thomas MayCustomer Reviews:
No, Yo Yo ...........2007-03-11
Inspired by Ma!.......2006-01-20
But the important thing is the MUSIC & I'll nevertheless give this CD set 5 stars-- this is essential listening!
I think of Bach's cello suites like the Dao De Jing-- it is open to so many endless possibilities in translation. But what I find so appealing in this recording is Ma's fine sense of balance between a 'classical' & 'romantic' approach to the cello suites. Ma is certainly not metronomically rigid with his reading, but neither is it too free. I think he strikes just the right balance in these recordings.
The famous Prelude of the first suite is at a surprisingly fast tempo (so I thought) but it flows-- it is not hurried-- one almost gets the impression of movement but stillness at the same time.
Though for a solo instrument, Bach's cello suites often sound like two, sometimes even three instruments playing at once! And what is amazing is Ma takes on the different 'voices' like an actor playing out all the parts-- the different implied musical lines of this virtual polyphony are brought out by Ma's playing by differences in bowing, volume & character.
The recording itself is so amazingly warm-- you can really feel the wood in the recording. Yo-Yo Ma's cello dances, leaps, sings & soars here.
The sixth suite is my personal favourite, especially the gavotte. It was listening to the sample here on Amazon that convinced me that I needed to own this recording. It is one of the most beautiful things Bach ever wrote I think.
I have three other recordings of the cello suites, but I confess that this is by far the most human & the most warm. Bach's cello suites are perhaps some of the greatest music EVER written & Ma simply channel's the music so exquisitely here.
You have not lived if you haven't listened to Bach's suites for cello! Do yourself a favour & get this recording-- you won't be sorry! I will cherish this recording always...
A must-have recording!.......2005-08-25
The fluidity of Yo-Yo Ma's playing is incredible. What I've come to appreciate more and more is his willingness - eagerness to have fun and take risks. From his recordings with Bobby McFerrin to his Obrigado Brazil recordings to simply Baroque all these recordings show a man who is so totally comfortable in any style or setting in which he might choose to play.
My congratulations to the recording staff "behind the scenes" as they most certainly had to have been inspired, judging by the quality recording they have produced. Too many times, really great performances can fail to convey the sense of presence that this recording has captured. They have given us a gift no matter what price you've paid for this CD; he's in your room, complete with the sense of ambiance and room boundaries that he was recorded in.
Don't bother with all the surround sound settings! Throw that all away and simply listen in two-channel stereo.
When people have written about what nice background music this makes I can only grin inside. Yes, it's charming. Yes, it's easy to live around but it also can compel you to sit and listen. How often does that happen?
This is a lovely recording of a masterful performance by one heck of a talented musician.
Bravo Yo Yo !.......2005-06-28
avec des aspects plus méditatifs, quoiqu'un peu «pathos» à certains moments.
Bonne version si vous cherchez autre chose que l'accent baroque.
Merci d'avoir lu mon humble avis. R.R
Very good.......2005-03-24
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Vivaldi: Virtuoso Cantatas
Philippe Jaroussky , Unspecified , Antonio Vivaldi , Ensemble Artaserse , and Claire Antonini Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD All Works by Vivaldi
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ASIN: B0006IQM4O Release Date: 2005-04-12 |
Tracks:
- Aria: Alla Caccia Dell'alme E De' Cori
- Recitativo: Ma Sia Crudele O Infida
- Aria: Preso Sei Mio Cor Piagato
- Recitativo: Qual Per Ignoto Calle
- Aria: Quel Passagier Son Io
- Recitativo: Deh, Piu Non Regni Nel Tuo Gentil Petto
- Aria: Qual Dopo Lampi E Turbini
- Piangero Sinche L'onda - Ruggiero
- Prelude After Vivaldi (Theorbo Solo)
- Aria: Care Selve, Amici Prati
- Recitativo: Ben Mal'accorto E Folle All'or Io Fui
- Aria: Placido In Letto Ombroso
- Largo
- Allegro
- Largo
- Allegro
- Recitativo: Perfidissimo Cor! Iniquo Fato!
- Aria: Nel Torbido Mio Petto
- Recitativo: Cosi Dunque Tradisci Chi Contenta
- Aria: Piu Amar Non Spero, No
- Di Verde Ulivo - Vitellia
- Recitativo: Pianti, Sospiri E Dimandar Mercede
- Aria: Lusinga E Del Nocchier
- Recitativo: O Ingannato Nocchiero
- Aria: Cor Ingrato Dispietato
Customer Reviews:
Jaroussky has a gifted voice.......2006-06-21
Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.
The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.
Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.
a voice teacher and early music fan.......2006-05-20
Jaroussky is exceptional.......2005-09-07
A pleasant surprise.......2005-05-20
Another Fine Countertenor Lights Up The World!.......2005-04-13
Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.
Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.
This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05
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Gurdjieff, Tsabropoulos: Chants, Hymns and Dances
Manufacturer: ECM ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B0002ONC72 Release Date: 2004-09-28 |
Tracks:
- Chant from a Holy Book
- Bayaty
- Prayer
- Duduki
- Interlude I
- Trois Morceaux aprHymnes Byzantins I
- Trois Morceaux aprHymnes Byzantins II
- Trois Morceaux aprHymnes Byzantins III
- Dance
- Chant
- Interlude II
- Assyrian Woman Mourners
- Armenian Song
- (No. 11)
- Womans Prayer
- Chant from a Holy Book, var. 1
Amazon.com
Philosopher, seeker after the truth, reconciler of science and religion, teacher, guru to artists, writers and musicians, Gurdjieff was an enigmatic figure; even his birthdate is uncertain: 1866 or 1877. He taught movements "to alter or heighten consciousness" at his Institute for the Harmonious Development of Man, located outside Paris---a highly improvisatory process for which he composed equally improvisatory music. Technically untrained, he depended on skilled assistants to realize and write down his ideas, and found one in a devoted disciple: Ukranian pianist/composer Thomas de Hartmann, who selflessly suspended his own career and, after Gurdjieff's death in 1948, privately published and recorded some of their collaborations. As a composer, Gurdjieff, born at the border of Armenia and Turkey, was influenced by the region's ethnic and cultural diversity, by his childhood memories of the religious and philosophical songs improvised by his father, a Greek troubadour, by the hymns of the Greek Orthodox Church, and by his extensive travels through Europe and Asia. For this recording, the performers themselves arranged his compositions for cello and piano, adding five pieces by pianist Tsabropoulos, including three based on Byzantine hymns. Both players have been involved with Armenian, Ukranian and Greek Orthodox music; both are expert improvisers. Their strong feeling and affinity for the material allows them to approach it with both reverence and freedom; the playing is primarily subdued and inward. The piano texture ranges from delicate tinkling to full-blooded chords and arpeggios; the cello, playing mostly in the low and middle register, often in unison with the piano, sounds dark, warm and beautiful. The music, except for one lively dance, is slow, solemn, and mournful, in the minor mode. Melodies featuring oriental intervals are elaborated but not developed; based on single-note drones, harmonies are static or move in stepwise progressions but do not modulate. This lack of contrast and variety creates an otherworldly, disembodied atmosphere, despite several buildups of motion, dynamics, and intensity. --Edith EislerCustomer Reviews:
Must have!.......2006-01-12
an artistic triumph.......2005-12-28
Mystical.
Mr Gurdjieff sang or hummed his songs and Thomas deHartmann "wrote them down and added harmony". Hard to tell where Mr. G stops and deHartmann starts, but we will never know. Mr G speaks of Objective Music and the vast majority pieces of subjective music. This is the former.
I must confess that many other peformances and arrangements of the music of Gurdjieff/de Hartmann, the way it was "supposed to be played", left me cold. Most of the other renditions I heard were played by those Drunk with Orthodoxy, amaturish or just plain lacking in musical ability.
This version is a revelation!
I think G would approve of this.
I like this, I think that the arrangements for cello and piano instead of just piano, as written, is an artistic triumph. The cello played by Anja Lechner expresses the peace and meditative sadness inherent in the music, even if that wasn't the way it's usually played. Composers are often not the best intepreters of their music.
That having been said there are three part to this music, pieces by G/deH, Tsabropoulos and then more G/deH and when the pianist sticks his own works in the middle of Mr G's the quality of composition falls somewhat. His compositions are or similar mood and type to G/deH, but really don't have the same achieve the same heights of depth and soul. (Mr G would say they are not Objective Music, I guess.) Perfomances of all pieces are uniformly good.
I would hope this group will arrange more of Mr G's music in this format in the future.
Recommended.
Interpretations of Gurdjieff's Music.......2005-12-14
The arrangements do not seem to have captured the spirit of Gurdjieff's music very well. If someone did with Beethoven what has been done with Gurdjieff's music here, I don't think it would be taken seriously.
If you are interested in a new "twist" on Gurdjieff's music, then you may enjoy this. If you enjoy Gurdjieff's music closer to the way which he composed it, then you will want to look for a different recording.
Inspired Subjectivity Encounters An Objective Music.......2005-03-19
In the 1920's, at his Institute for the Harmonious Development of Man, Gurdjieff continued this work by collaborating with Thomas de Hartmann on creating an "objective music". A music that "would work upon all listeners equally, focusing their mental life and bringing them to a new relationship with the living universe". It is probably Keith Jarrett, who has worked closely with the Gurdjieff Societies of both London and New York, that has produced the most "authentic" or "objective" reading of Gurdjieff's music in recent years.
On this ECM New Series disc of 2004, "Chants, Hymns and Dances", Anja Lechner and Vassilis Tsabropoulos decided to take a more liberal, "subjective", approach. Their interest in these compositions is perhaps more "musical than philosophical". Their suitability for this task should be apparent. Lechner's most recent work has involved interpreting the music of both Armenian Composer Tigran Mansurian and the Ukrainian Valentin Silvestrov. While Tsabropoulos, for his part, has worked with ancient Byzantine music and the music of the Greek Orthodox Church.
According to the informative liner notes by Steve Lake, "This music exists for the individual to make of it what he or she will, according to capacity". Lechner and Tsabropoulos both have deep experience with composed music and also with the process of free improvisation. Indeed, these two performers brilliantly interpret Gurdjieff's music with gentle assurance and a bright spontaneity. The five original compositions on this disc by Tsabropoulos even suggest an affinity with the Gurdjieff sensibility that borders on predestination.
"Chants, Hymns and Dances" is worthy of repeated encounter and remains serenely vital with each new audition. This is an ambiguous music that defies easy spiritual classification.
Stunning.......2005-03-02
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Bach for Breakfast
Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B0000041D9 Release Date: 1995-06-13 |
Tracks:
- Jesu, Joy of Man's Desiring
- Orchestral Suite No. 3 In D
- Concerto In D Minor For Oboe, Strings & Continuo: Siciliano
- Suite in D: Bourree I - II
- Sonata In E-Flat For Flute & Harp: Sicilliano
- Sonata In E-Flat For Flute & Harp: Allegro Moderato
- Brandenburg Concerto No. 6 In B-Flat: Adagio ma non tanto
- Sonata In G minor For Flute, Harp & Cello: Allegro
- Sonata In G minor For Flute, Harp & Cello: Adagio
- Sinfonia: Christmas Oratorio
- Orchestral Suite No. 1 In C: Forlane
- Sonata In C For Flute & Harp: Andante-Presto
- Sonata In C For Flute & Harp: Menuetto I - II
- English Suite No. 3 In G Minor: Allemande
- Brandenberg Concerto No. 2 In F: Andante
- Suite In E-Flat For Harp: Gavotte en rondeau
- Concerto In D Minor For Violin & Panpipes: Adagio
- Concerto In A For Oboe d'amore, Strings & Continuo: Allegro moderato
Customer Reviews:
Coffee ? Eggs ? Bacon ? Bach ?.......2005-10-04
Gentle background music with lots of harp.......2005-06-26
While 'classical purists' may raise their brow because of the many flute/harp selections (citing that Bach never composed any music for the harp), the person buying this CD for inspiring and relaxing mood music should be be delighted just fine with these "transcriptions" from piano to harp. The harp has a special niche for creating the most serene of atmospheres which it does not fail to do here. The solo Suite in E-flat was originally composed for solo violin but sounds much more smooth and dreamy on the harp - a piece very well done. However, some pieces are so serene that you might fall asleep at the breakfast table - hence, the sub-title "A leisurely way to start your day." Actually, it could easily be titled, "Bach for Bedtime" as the selections are all pretty relaxed and on the quiet side. So, if the hyper-energy of Mozart symphonies is too much for your mornings or if the sharp surges of Beethoven's music unsettle you, then these calmer Bach selections should be a better way to ease into the day.
If you like the flavor of Baroque music, "Bach for Book Lovers" in the same series is a good choice and has more solo piano selections for the piano lover. "Bach for Bedtime" is also a wonderful (non-duplicating) collection of some of Bach's most serene music and is also recommended. Perhaps the most calming and sedating music in this Philip's series is "Baroque for Bathtime" which can easily put you to sleep - in a good way - with or without the bath. All are high quality with well-selected pieces from the treasures of classical music's most influential composer of the Baroque era - Johann Sebastian Bach.
Excellent Compilation of Brilliant Music for Home Listening.......2004-01-26
The "songs" on this CD and from the series were chosen from the vast and excellent Phillips classical music catalog. The sound, performances, and song selections are world-class.
A lot of great classical music is great for an evening at the concert hall but not very good for listening at home. The crescendos can be loud and the themes too intense. I would rather listen to a breathtaking Mozart piano sonata (solo piano) at home than a grand Mozart symphony (large orchestra) at home. The music on this CD was chosen for home listening, such as when reading a book.
This music appeals to everyone. Classic musicians may snub this music because it's not grand like a full-blown opera. They ignore the fact that the great composers, like Bach recognized different musical genres such as chamber music for at home or the kings court, and grand symphonies for an evening at the concert hall.
The music on this CD is EXCELLENT for listening at home. It's both brilliant and mellow. When I listen to this music I marvel at the brilliance of Bach. I am very grateful for this music and other CD's in this series.
A fantastic CD!
Bach for any meal!.......2004-01-22
Lovely!!!.......2002-04-06
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Brahms: Complete String Quartets, Quintets & Sextets
Karl Leister , Johannes Brahms , Christoph Eschenbach , Cecil Aronowitz , Norbert Brainin , Siegmund Nissel , and Amadeus Quartet Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Quartets
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ASIN: B00008RWRG Release Date: 2003-10-14 |
Customer Reviews:
Very Good, but beware technical problems.......2007-05-26
1. In the first movement of the Brahms G Major Op.111, the string quintet elects not to take the repeat in m.56, so you will never hear the first ending on this recording and thus only get one shot at the awesome cello opening. I haven't listened closely enough to the other pieces on this set to discern if they avoided other repeats or not, but for the most part, they appear to be there.
2. There are technical printing problems. Though the recording is so live that you can hear the breath of the musicians and their fingers fall on the strings, there are some actual technical pops in the recording. Perhaps it was a transfer problem from analog to digital, as the recordings are old. Most of these pops are minor, but they are dissapointing for an audiophile such as myself. My CDs are pristine (no scratches at all), and even the first time playing them these pops were there. So, here's the list of what I've found thus far:
CD 3:
Track 6: Pops & clicks at 1:19 & 1:22.
CD 5:
Track 1: Pops at 6:01.
Track 2: Pops & clicks at 0:13, 3:56, & 6:16.
Track 5: Pop at 12:07.
Track 7: Pop & clicks at 6:11, 7:45, 7:51-7:52 (these are quite noticable), 7:59, 8:03, 8:11.
Track 8: Pop at 7:34.
It is a well-played set; hopefully they will get the printing correct on the next batch.
This is how all Brahms should be played!.......2007-02-14
Mastery and joy.......2006-12-12
Because they lasted such a long time and toward the end didn't play at their best, I found reasons to overlook the Madeus Qt. But in this 9-CD set of the complete chamber music of Brahms, there are some sublime performances--I would especially point to both String Sextets, for example. In every instance the style of the Amadeus is full of vibrancy and joy, and their ensemble isn't baased on technical perfection but rather a kinship of musical taste and feeling (this puts them poles apart from the Emerson Qt., for me at least). I also love the Brahms chamber performances on Sony with Yo-Yo Ma, Isaac Stern, emanuel Ax, and friends, but this DG set is altogether sweeter and more lyrical.
Since Amazon neglects to list the additional players who join the Amadeus for the works that aren't soely for a string quartet, here's the run-down from Tower:
1. Quartet for Strings no 1 in C minor, Op. 51 no 1
Ensemble: Amadeus String Quartet
2. Quartet for Strings no 2 in A minor, Op. 51 no 2
Ensemble: Amadeus String Quartet
3. Quartet for Strings no 3 in B flat major, Op. 67
Ensemble: Amadeus String Quartet
4. Quintet for Piano and Strings in F minor, Op. 34
Ensemble: Amadeus String Quartet
Performer: Eschenbach, Christoph
5. Quintet for Strings no 1 in F major, Op. 88
Ensemble: Amadeus String Quartet
Performer: Aronowitz, Cecil
6. Quintet for Strings no 2 in G major, Op. 111
Ensemble: Amadeus String Quartet
Performer: Aronowitz, Cecil
7. Trio for Clarinet, Cello and Piano in A minor, Op. 114
Performer: Leister, Karl; Eschenbach, Christoph; Donderer, Georg
8. Quintet for Clarinet and Strings in B minor, Op. 115
Ensemble: Amadeus String Quartet
Performer: Leister, Karl
9. Sextet for Strings no 1 in B flat major, Op. 18
Ensemble: Amadeus String Quartet
Performer: Aronowitz, Cecil; Pleeth, William
10. Sextet for Strings no 2 in G major, Op. 36
Ensemble: Amadeus String Quartet
Performer: Aronowitz, Cecil; Pleeth, William
Exquisite music performed with exquisite artistry.......2005-05-20
3 string quartets;
2 string quintets;
2 string sextets;
a quintet for piano, 2 violins, viola, and violoncello;
a trio for piano, clarinet, and violoncello;
and a quintet for clarinet, 2 violins, viola, and violoncello.
All this wealth of extraordinary music is in a 5 CD set, performed by one of the finest chamber music ensembles in the world, with the added artistry of Christoph Eschenbach (piano), Cecil Aronowitz (viola), and Karl Leister (clarinet).
One CD is 50' 36 in length, 2 are in the low 60's, and 2 are in the low 70's.
I have an inexpensive CD player, but this music emerges from it with the sharpness of etched glass, the smoothness of warmed honey, and the softness of rivers of silver in moonlight.
This is music to celebrate the joy and the pathos of life, played with soul, sensitivity, and power. Buy it and treasure this gift to yourself.
Dance Music:
- Fu-Gee-La [CD-single]
- Funk on Sight [Explicit Lyrics]
- Greatest Hits: Chopped & Screwed
- Greatest Hits, Vol. 1
- Hawk [Explicit Lyrics]
- He's Keith Murray [Explicit Lyrics]
- He's Keith Murray [Explicit Lyrics]
- Hip Hop Against Terrorism [Import]
- Hip Hop Rap
- Hoods-To-Da-Woods [Explicit Lyrics]
Dance Music
The Arturo Toscanini Recordings Association: Historic Concert Performances From 1953
Laughin' to Keep from Cryin' [Extra tracks]
The Album For All Seasons (Bobby Susser Songs For Children)
Rameau: Complete Works for Harpsichord
Sue Giles - With Love From Sue
Secret Moves at the Midnight Chess Club [Import]