| 1. Remembrance - George Winston |
| 2. Love Is the Key - Tuck & Patti |
| 3. Remember Me This Way - Liz Story |
| 4. Driving - Will Ackerman |
| 5. Welcoming - Michael Manring |
| 6. Hawk Circle [Radio Edit] - Will Ackerman |
| 7. After the Harvest - The Angels of Venice |
| 8. Remember Who You Are - Cathy Bolton |
| 9. To the One Who Knows - Yanni |
| 10. Gol Na Mban San Ār - William Coulter, Mary McLaughlin |
| 11. Children of the Sun - David Arkenstone |
| 12. Dream Come True - Jim Brickman |
| 13. Canyon Chaconne - Paul Winter |
| 14. Dream - Tuck & Patti |
| 15. Gentle Place - Lisa Lynne |
| 16. Amazing Grace - Cathy Bolton |
Editorial Reviews
Amazon.com
This 60-minute, 16-track compilation is the second installment in what has proven to be another successful concept generated by New Age-music specialists. In this case, bestselling author Neale Donald Walsh and Windham Hill have branded a pair of label compilation projects with the evocative title from Walsh's popular series of books. This assortment of preexisting music, which includes several splendid moments, nevertheless conveys a certain patchwork quality that impacts the intended mood of seamlessness inherent in the genre's best thematic samplers. The album's opener, "Remembrance," comes from George Winston's ode to Vince Guaraldi and introduces the project with an urban texture. The passionate vocal style of Patti Cathcart (of Tuck & Patti) and country-tinged voice of Cathy Bolton (who closes the album with "Amazing Grace") at times seem a bit intrusive within the album's generally contemplative mood. Still, gems like Will Ackerman's dynamic, violin-powered "Driving," Michael Manring's inventive "Welcoming," and Jim Brickman's piano solo "Dream Come True" succeed beautifully at fulfilling the album's premise. An attractive package. --Terry Wood
I'm fascinating.
Second: Jack Gibbons plays (and has recorded) the Alkan op 39 etudes (he probably plays a lot more Alkan than that). For those of you not in the know, this is to say he has world-class chops, indeed history-class (Liszt, who never played his friend Alkan, at least in public). But it's also to say that Gibbons knows how to interpret and personalize fantastically difficult piano music. For me, his Alkan op 39 is personal and passionate and real (contrast the facile and over-pedalled Hamelin and the just-the-notes-ma'me Ringeissen). An appreciation of Gibbons' Alkan is important here because while his Alkan is uniquely personal (as such music must be, no matter how hard it is to play) his Gershwin is deliberately impersonal...which is to say: no pianist, no singer would want to reproduce what Gibbons has given us in these 4 cd's, and in fact few listeners will be able to listen for long to these 4 cd's without a respite, a break , some silence, some minimal styling from somebody (anybody) else...which brings me to
Third: This is an archive, not a recital. This is a library, not a program. There is no track-by-track contrast of moods here, no track-by-track concession to easy listening, varied delight, any more than a library shelf of novels is alphabetized by authors' last names as a concession to mood or fancy or taste of the searching patron. This is the documented Gershwin in his recording mode: manic, notey, clever, "on", and never, as generations of stylists found in him, ravishing, tender, longing, sweet, glad, hopeful...person-to-person, in a word. I can listen to these cd's about half an hour at a time, max. This is Gerwhsin, not Gibbons. And this is just one side of Gershwin. He died at 38, in the summer. Brain tumor. A lot of pain.
Finally, Jack Gibbons has given the world a uniquely valuable and easily available resource. Gibbons could now do us a service by playing us some Gershwin as he feels it, as it hits him and makes him sing (as Gershwin, our American Schubert, does to all of us, and as I think Alkan has done to Gibbons). I would love to see a Gershwin stylings by Gibbons now that Gibbons himself has made sure Gershwin in his authenticity is safe and sound.
Gibbons, according to a family friend and biographer Edward jablonski "recreates Gershwin's style." I'll never know. I can say this is a lively recording and has the perfect balance. It's neither stuffy and plodding or cute.
Beyond Mysterious Mountain, which gets a pretty good performance here, the highlight is easily Sympohny #50 "Mount St. Helens". This work portrays the eruption in 1980 that Hovhanes actually was close enough to to experiance its backlash. The first two movements are typical laid back Hovhanness, very pretty. The third movement, however, just ROARS with exceitment, and just does not stop. Wonderful.
These are the first two strophes of Samuel Barber's "The Coolin," one of the three songs in his choral song cycle "Reincarnations." A friend recommended that I listen to this song, someone who had fond memories of singing it but who had yet to hear a satisfactory recording of the work. Given the enthusiasm, even exuberence, that she displayed regarding the singing, I thought it important enough - and only fair - that I seek out the best possible performance of the work. So I ended up acquiring three CD's, all containing "The Coolin" (and two containing the full set of "Reincarnations" songs). Having listened now to all three, it is easy for me to state that this CD contains the hands-down winner. And to further add that the other two Barber songs in the cycle really don't measure up to this one, so the absence of them on this release is no great loss to me.
Set to a love poem by the early-20th century Irish poet James Stephens, "coolin" is a lock of hair (or "curleen") that grows on a young girl's neck, an expression seemingly equivalent to "sweetheart." Stephens goes on to say, "I sought to represent that state which is almost entirely a condition of dream wherein the passion of love has almost overreached itself and is sinking to a motionless languor." Barber's beautiful setting of the poem reflects that aim totally, and the singing of the San Francisco Symphony Orchestra Chorus captures the passionate languor perfectly.
The album - billed as "a choral journey through the twentieth century" and meant to spotlight the excellence of the chorus - is interesting both in terms of what it includes and what it overlooks, in terms of choral classics. The opening track contains a truly fine performance of John Tavener's "Song for Athene" (made famous as the recessional at Princess Diana's funeral although written some years earlier upon the death of a friend of Tavener). If you want a fine performance of this particular Tavener work but are not sure whether you want an album full of his works, look no further.
There are three songs in French (by Debussy, Badings - actually a Dutchman - and Poulenc). For me, the Badings song ("La nuit en Mer," from his "Three Breton Songs" of 1948) is one of the true "sleepers" in this album, a work I'd hardly expect to run across under normal circumstances and a beautful one at that.
Needless to say, there is a lot of "Americana" here as well, including an arrangement of Aaron Copland's harmonization of the Shaker hymn "Simple Gifts" for chorus and piano, an Alice Parker setting of "Hark, I Hear the Harps Eternal" and a simply drop-dead-gorgeous setting of "Shenandoah" by J. Erb (no first name provided in the notes). Two fine inclusions are a wonderful setting of Jerome Kern's "All the Things You Are" (breathtaking in its harmonic daring) and the evergreen "Make Our Garden Grow" from Bernstein's "Candide" (the album "closer").
In addition to the Tavener work, the century's end is well-represented by Allen Jay Kernis ("How the Soul Speaks to God"), Morten Lauridsen ("O Love, Be Fed With Apples While You May" from his "Mid-Winter Songs") and Conrad Susa ("Winds of May" from his "Six Joyce Songs").
This is an eclectic collection, as individual for what it does NOT include as for what it does. For example, there is not a single song by Charles Ives (who wrote well over 150 of them, many of them beautiful), or by William Schuman (another prolific songwriter). England is represented only by Tavener, and therefore there are none of the fine songs written by John Rutter and Benjamin Britten. And there is nothing to represent 20th-century Scandanavia. (For example, though Einojuhani Rautavaara is mentioned in the booklet notes and has written many fine songs, none are included here.) Nevertheless, I hardly think that choral fans will be disappointed with the selection provided (chosen, I would guess, by both the chorus itself and by its conductor, Vance George).
Vance George certainly has the proper bona fides (mentoring under both Robert Shaw and Margaret Hillis, herself a Shaw acolyte), and he has developed the San Francisco Symphony Chorus to an enviable level (as can be demonstrated by the fine support they provide for a number of orchestral/choral works conducted by Michael Tilson Thomas). Clearly, this chorus must number among the top half-dozen currently supporting major orchestras in the U.S.
The recorded sound quality is mostly excellent, although a few of the tracks don't seem to be representative of the usual Delos mastery of capturing sound in difficult acoustical environments. But, then, Davies Hall (the home of the San Francisco Symphony Orchestra) is quite well-known for its tricky acoustics.
The booklet notes - by Laura Stanfield Prichard - are good for what they are. The organization of the notes follows neither the strict chronology of the works nor the actual playing order. But the notes do a reasonable job of describing the works themselves, save for any mention whatsoever of Jerome Kern or of the arranger who provided the drop-dead-gorgeous setting of "All the Things You Are."
But, despite these nitpicking minor criticisms of mine, if you are - like me - a choral junkie, you'll want this album in your collecction. For all the good reasons I've highlighted above. And most especially for Sam Barber's "The Coolin."
Bob Zeidler
He has a total control over the high notes also. You will hear the most beautiful pianissimo, soft, expressive, and floaty, in those otherwise ear-spliting pitches. His runs are also incomparable, very clear, driven, profound, and accurate. You will have to hear them at least once in your life time!
I have let my two teenage nephews, who knew nothing but rock music, listen to this CD, and lo and behold, they couldn't stop listening to it. We were on a trip to Yellow Stone at that time, a long boring drive, and they kept on asking me to play it over and over. We ended up listening to it several hours straight every day for 3 days! A different kind of excitement from rock music, every time the fast runs came, they couldn't stop dancing in the car mimicking them. The whole CD made them simply happy and jubilant. As a result, the otherwise boring long drive became a very happy, fun trip.
Mr. Mehta demonstrated sophisticated and precoscious techniques which made his gifted timbre even more unparalleled. His diction is not quite crisp. My conjecture that it's due to his nasal technique, not unfamiliar to a countertenor, the unique head voice suited to a boy's changing voice. Maybe, also because of this, the color of Mr. Mehta's voice on this CD is especially touching - woeful but never strident nor forced in high notes. The aria "If God Be for Us" is most sentimental and brings an aetheist to tears!
I have been very pleasantly surprised, especially at his Beethoven and his Schumann. I found that he kept the spontaneity of his Lisztian interpretations, but channelled it chronologically into insightful and spontaneous Beethoven interpretations, while respecting most of the rules and performance practices of the Classic era.
His Schumann was mercurial and spontaneous in a Romantic fashion, also, and - of course - brilliantly digitally played. As to the Liszt, it's par excellence; I've never heard that music played with such spontaneity and
digital fluency.
The sound quality is surprisingly good, altho somewhat uneven. I highly recommend this set to anyone who loves great piano-playing. My favorite pianist is still Richter, but Cziffra takes first prize in his Liszt, and runs a close second with other composers' music.
Cziffra himself didn't aid popular comprehension by saying that he couldn't play Beethoven. I already owned his Waldstein, but here we have four more sonatas plus some smaller pieces, all early works. If I have a fault to find with his Waldstein it's that it is rather understated. What I don't fault at all is his sense of Beethoven's idiom, and the only flash of Cziffra's phenomenal technique comes where there can be no objection in the up-and-down octaves near the end. These are normally played glissando, because to finger them in strict time is impossible, allegedly. Even Horowitz can't do that - but Cziffra can. This really sums up his way of doing things - the technique is exercised strictly when needed, and then not in a showy way unless the sense of the music demands that. Try the Mendelssohn rondo here - light-fingered in the main rondo theme, relaxed in the episodes - then hear Serkin on Aura in his 1957 recital in Lugano, high-tension and full-speed-ahead. Serkin brought the audience to its feet, Cziffra is simply enjoying the piece, and very Mendelssohnian he sounds. Or again the Schumann toccata. Richter won raptures from the critics for his handling of the rat-tat fortissimo chords near the end while making no concessions to the tempo. He does that no better than Cziffra, if as well. The difference is that Richter `makes more' of the supposedly virtuoso sequences earlier. Now how about Cziffra's Beethoven here? It is natural, idiomatic and kept within a certain volume-level. There is no showing off let alone messing around. If Cziffra recalls anyone it is Kempff, and these performances would be safe models for teachers. In Schumann it's the same story. Not everyone could play Traumeswirren like this, and here and there the finger-work had me rubbing my eyes, but I keep sensing that Cziffra is not even aware that he's doing anything exceptional. The idiom is dead right, the rubato is natural, the lyricism is spontaneous if less `warm' than some, the sense of the overall structure is effortless - and I could say all that about Chopin's F minor fantasy too.
I can't avoid Liszt, but some comparisons are interesting. This high-powered Totentanz has been rightly praised, but both in this work and in the first concerto I feel that Michelangeli beats Cziffra at what is supposedly Cziffra's own game. I hear Michelangeli as Cziffra's solitary equal as a technician, but in second-rate music like this spontaneity and dexterity are trumped by an above-it-all Olympian aloofness, and Cziffra undoubtedly does not take the ultra-care that Michelangeli takes over perfect evenness of touch, sublime poise in the rhythm and super-perfection in the trills. (In the matter of trills, you can hear what Cziffra can do when he puts his mind to it in the fiendish 4th variation in book 1 of Brahms's Paganinis). In the 2nd concerto Cziffra is the best I have yet heard. In sheer technical address neither he nor anyone surpasses Richter, but where I like Cziffra better is in an aspect of his playing that gets too little attention, namely his natural and unaffected lyricism. In the Hungarian Fantasy, the Liszt solos and the various arrangements I imagine Cziffra is unsurpassed and unsurpassable, not that I propose to research that matter much.
The Grieg and Tchaikovsky concertos are here too. Cziffra adopts moderate tempi in the outer movements of the Grieg as the composer directs. The first movement of the Tchaikovsky is done as I like it, insofar as I like it at all. The introduction is taken fast, rather as Horowitz and Toscanini take it although I miss Toscanini's direction. The last movement however is taken at a very moderate pace, with the excitement saved for the end. Later performances are of some French music. In these pieces, as in the Scarlatti sonata, I wouldn't say that Cziffra stands out particularly - with one telling exception, Couperin's Barricades Mysterieuses, atmospheric and bewitching. Was this what they told you to expect from Cziffra?
He was a natural, a child of the gods. The near-unbelievable technique was an important part of his gift, but what I prize most is his lyric manner - simple, innocent and clear-eyed. His actual touch is not one that you could identify within seconds, as you could identify that of Horowitz, Serkin, Richter or Michelangeli, but it is utterly free from affectation. The better you know him, the more you will love him.
The performances could not be bettered. The singers, choir and orchestra bring their all to these pieces.
The 11 volumes are expensive but really belong in every classical music lover's collection. Buy as many as you can afford.
This 60-minute, 16-track compilation is the second installment in what has proven to be another successful concept generated by New Age-music specialists. In this case, bestselling author Neale Donald Walsh and Windham Hill have branded a pair of label compilation projects with the evocative title from Walsh's popular series of books. This assortment of preexisting music, which includes several splendid moments, nevertheless conveys a certain patchwork quality that impacts the intended mood of seamlessness inherent in the genre's best thematic samplers. The album's opener, "Remembrance," comes from George Winston's ode to Vince Guaraldi and introduces the project with an urban texture. The passionate vocal style of Patti Cathcart (of Tuck & Patti) and country-tinged voice of Cathy Bolton (who closes the album with "Amazing Grace") at times seem a bit intrusive within the album's generally contemplative mood. Still, gems like Will Ackerman's dynamic, violin-powered "Driving," Michael Manring's inventive "Welcoming," and Jim Brickman's piano solo "Dream Come True" succeed beautifully at fulfilling the album's premise. An attractive package. --Terry Wood
Conversations with God, Vol. 2,Various Artists,Windham Hill Records,Adult Alternative,Adult Contemporary,Ambient,Celtic Fusion,Chamber Jazz,Contemporary Instrumental,Ethnic Fusion,Jazz Music,Neo-Classical,New Acoustic,New Age / Meditation,Pop,Progressive Electronic,Solo Instrumental
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The Psalms of David from Kings Choir of Kings College, Cambridge, Vol. 1
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD  General
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ASIN: B000009OQF Release Date: 1998-08-11 |
Tracks:
- I Was Glad
- Like As The Hart/Give Sentence With Me
- Praise The Lord, O My Soul
- Hear My Crying, O God
- The Earth Is The Lord's
- I Will Lift Up Mine Eyes
- The Lord Is My Shepherd
- God Is Our Hope And Strength
- O How Amiable
- Lord Who Shall Dwell
- By The Waters Of Babylon
- O Praise The Lord
- O Praise The Lord Of Heaven
- O Sing Unto The Lord
- O Praise God In His Holiness
Customer Reviews:
Make a joyful noise!.......2007-03-13
Just what I wanted........2007-01-03
Analog recording superior.......2005-11-10
High comfort level.......2004-11-07
Oldie But a Goodie.......2003-03-28
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Essential Hyperion, Vol. 2
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ASIN: B00004RITB Release Date: 2001-01-09 |
Customer Reviews:
Nothing but hits.......2001-01-31
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Authentic George Gershwin, Vol. 1-4
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ASIN: B0001Z2RSC Release Date: 2004-08-24 |
Tracks:
- Swanee
- Come To the Moon
- I Was So Young (You Were So Beautiful)
- Tee-Oodle-Um-bum-Bo
- Nobody But You
- Limehouse Nights
- Drifting Along With The Tide
- Rhapsody In Blue
- Oh Lady Be Good!
- Fascinating Rhythm
- Hang On To Me
- I'd Rather Charleston
- The Man I Love
- The Half Of It, Dearie, Blues
- So Am I
- Kickin' The Clouds Away
- Concerto In F
Tracks:
- Sweet And Low-Down (I)
- That Certain Feeling (I)
- Looking For A Boy
- When Do We Dance?
- Sweet And Low-Down (II)
- That Certain Feeling (II)
- Irish Waltz
- Do, Do, Do
- Someone To Watch Over Me
- Clap Yo' Hands
- Maybe
- Three Preludes: I. No.1: Allegro Ben Ritmato E Deciso / II. No.2: Andante Con Moto / III No.3: Allegro Ben Ritmato E Deciso
- Meadow Serenade
- My One And Only
- 'S Wonderful/Funny Face
- He Loves And She Loves
- An American In Paris
- Liza
- Strike Up The Band
- Embraceable You
- I Got Rhythm (I)
- I Got Rhythm (II)
Tracks:
- Of Thee I Sing
- Jilted
- Second Rhapsody
- For You, For Me, For Evermore
- Cuban Overture
- Isn't It A Pity?
- Variations On 'I Got Rhythm'
- I. Catfish Row: Introduction - Jazzbo Brown - First Chorus, 'Summertime'
- II. Porgy Sings: 'I got Plenty O' Nuthin' - 'Bess, You Is My Woman Now'
- III. Fugue: Murder Of Crown, Act III Scene 1
- IV. Hurricane: Introduction, Act II Scene 3 - Hurricane, Act II Scene 3
- V. Good Morning, Brother: Occupational Humoresque, Act III Scene 3 - 'Good Morning, Brother' - Children's Song 'Sure To Go To Heaven' - 'I'm On My Way' (Finale)
- They Can't Take That Away From Me
- Let's Call The Whole Thing Off
- Our Love Is Here To Stay
Tracks:
- Girl Crazy Overture
- French Ballet Class
- Dance Of The Waves
- Slap That Bass
- Walking The Dog
- I've Got Beginner's Luck
- They All Laughed
- They Can't Take That Away From Me
- Shall We Dance
- By Strauss
- I Can't Be Bothered Now
- The Jolly Tar And The Milkmaid (1st Version)
- Put Me To The Test
- The Jolly Tar And The Milkmaid (2nd Version)
- Stiff Upper Lip
- A Foggy day (In London Town)
- Nice Work If You Can Get It
- Things Are Looking Up
- I Was Doing All Right
- Love Walked In
Customer Reviews:
Excellent performer.......2007-03-09
I'm fascinating.
A unique project.......2006-11-23
Gershwin historical, manic, perfect, archival.......2006-06-12
Second: Jack Gibbons plays (and has recorded) the Alkan op 39 etudes (he probably plays a lot more Alkan than that). For those of you not in the know, this is to say he has world-class chops, indeed history-class (Liszt, who never played his friend Alkan, at least in public). But it's also to say that Gibbons knows how to interpret and personalize fantastically difficult piano music. For me, his Alkan op 39 is personal and passionate and real (contrast the facile and over-pedalled Hamelin and the just-the-notes-ma'me Ringeissen). An appreciation of Gibbons' Alkan is important here because while his Alkan is uniquely personal (as such music must be, no matter how hard it is to play) his Gershwin is deliberately impersonal...which is to say: no pianist, no singer would want to reproduce what Gibbons has given us in these 4 cd's, and in fact few listeners will be able to listen for long to these 4 cd's without a respite, a break , some silence, some minimal styling from somebody (anybody) else...which brings me to
Third: This is an archive, not a recital. This is a library, not a program. There is no track-by-track contrast of moods here, no track-by-track concession to easy listening, varied delight, any more than a library shelf of novels is alphabetized by authors' last names as a concession to mood or fancy or taste of the searching patron. This is the documented Gershwin in his recording mode: manic, notey, clever, "on", and never, as generations of stylists found in him, ravishing, tender, longing, sweet, glad, hopeful...person-to-person, in a word. I can listen to these cd's about half an hour at a time, max. This is Gerwhsin, not Gibbons. And this is just one side of Gershwin. He died at 38, in the summer. Brain tumor. A lot of pain.
Finally, Jack Gibbons has given the world a uniquely valuable and easily available resource. Gibbons could now do us a service by playing us some Gershwin as he feels it, as it hits him and makes him sing (as Gershwin, our American Schubert, does to all of us, and as I think Alkan has done to Gibbons). I would love to see a Gershwin stylings by Gibbons now that Gibbons himself has made sure Gershwin in his authenticity is safe and sound.
Definative.......2005-07-23
Gibbons, according to a family friend and biographer Edward jablonski "recreates Gershwin's style." I'll never know. I can say this is a lively recording and has the perfect balance. It's neither stuffy and plodding or cute.
Average customer rating:
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Hovhaness Collection, Vol. 2
Manufacturer: Delos Records ProductGroup: Music Binding: Audio CD Quartets
| Chamber Music
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
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Hovhaness, Alan
| ( H )
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ASIN: B00000JSAT Release Date: 1999-08-03 |
Customer Reviews:
Alan Hovhaness.......2004-05-31
Just a bit worse than the first volume.......2003-01-07
Beyond Mysterious Mountain, which gets a pretty good performance here, the highlight is easily Sympohny #50 "Mount St. Helens". This work portrays the eruption in 1980 that Hovhanes actually was close enough to to experiance its backlash. The first two movements are typical laid back Hovhanness, very pretty. The third movement, however, just ROARS with exceitment, and just does not stop. Wonderful.
Amoung the other selections, 'And God Created Great Whales' is a very interesting piece that includes tape music of whales, and is somewhat aleatoric in nature (chance music). Prelude and Quadruple Fugue is very nice example of an orchestral fugue, while Alleluia and Fugue goes more toward the choral direction and is very pretty.
As this is at twofer pricing, it's a very good buy, unless you already have some of the CDs these recordings were taken from. However, make sure to also get the other volume.
Stunning and diverse--a whole world of beautiful music.......2001-03-04
Average customer rating:
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Voices 1900/2000
Manufacturer: Delos Records ProductGroup: Music Binding: Audio CD All Works by Barber
| Barber, Samuel
| ( B )
| Featured Composers, A-Z
| Classical
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All Works by Bernstein
| Bernstein, Leonard
| ( B )
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| Classical
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All Works by Copland
| Copland, Aaron
| ( C )
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All Works by Kernis
| Kernis, Aaron Jay
| ( K )
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All Works by Lauridsen
| Lauridsen, Morten
| ( L )
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General
| Ligeti, György
| ( L )
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All Works by Poulenc
| Poulenc, Francis
| ( P )
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| Tavener, John Kenneth
| ( T )
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| Thompson, Randall
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| Debussy, Claude
| ( D )
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Similar Items:
ASIN: B00005B16W Release Date: 2001-04-03 |
Tracks:
- Song For Athene (Alleluia)
- Reggel (Morning)
- Dieu! Qu'il La Fait Bon Regarder
- La Nuit En Mer
- Bois Meurtri...
- Ite Missa Est
- Alleluia
- Simple Gifts
- How The Soul Speaks To God
- Winds Of May
- O Love, Be Fed With Apples While You May
- The Coolin (The Fair Haired One)
- Earth Seen From Above
- Other Worlds Revealed
- Hark, I Hear The Harps Eternal
- Shenandoah - Steven Rogino
- All The Things You Are
- Make Our Garden Grow
Customer Reviews:
"Come with me, under my coat".......2002-12-31
These are the first two strophes of Samuel Barber's "The Coolin," one of the three songs in his choral song cycle "Reincarnations." A friend recommended that I listen to this song, someone who had fond memories of singing it but who had yet to hear a satisfactory recording of the work. Given the enthusiasm, even exuberence, that she displayed regarding the singing, I thought it important enough - and only fair - that I seek out the best possible performance of the work. So I ended up acquiring three CD's, all containing "The Coolin" (and two containing the full set of "Reincarnations" songs). Having listened now to all three, it is easy for me to state that this CD contains the hands-down winner. And to further add that the other two Barber songs in the cycle really don't measure up to this one, so the absence of them on this release is no great loss to me.
Set to a love poem by the early-20th century Irish poet James Stephens, "coolin" is a lock of hair (or "curleen") that grows on a young girl's neck, an expression seemingly equivalent to "sweetheart." Stephens goes on to say, "I sought to represent that state which is almost entirely a condition of dream wherein the passion of love has almost overreached itself and is sinking to a motionless languor." Barber's beautiful setting of the poem reflects that aim totally, and the singing of the San Francisco Symphony Orchestra Chorus captures the passionate languor perfectly.
The album - billed as "a choral journey through the twentieth century" and meant to spotlight the excellence of the chorus - is interesting both in terms of what it includes and what it overlooks, in terms of choral classics. The opening track contains a truly fine performance of John Tavener's "Song for Athene" (made famous as the recessional at Princess Diana's funeral although written some years earlier upon the death of a friend of Tavener). If you want a fine performance of this particular Tavener work but are not sure whether you want an album full of his works, look no further.
There are three songs in French (by Debussy, Badings - actually a Dutchman - and Poulenc). For me, the Badings song ("La nuit en Mer," from his "Three Breton Songs" of 1948) is one of the true "sleepers" in this album, a work I'd hardly expect to run across under normal circumstances and a beautful one at that.
Needless to say, there is a lot of "Americana" here as well, including an arrangement of Aaron Copland's harmonization of the Shaker hymn "Simple Gifts" for chorus and piano, an Alice Parker setting of "Hark, I Hear the Harps Eternal" and a simply drop-dead-gorgeous setting of "Shenandoah" by J. Erb (no first name provided in the notes). Two fine inclusions are a wonderful setting of Jerome Kern's "All the Things You Are" (breathtaking in its harmonic daring) and the evergreen "Make Our Garden Grow" from Bernstein's "Candide" (the album "closer").
In addition to the Tavener work, the century's end is well-represented by Allen Jay Kernis ("How the Soul Speaks to God"), Morten Lauridsen ("O Love, Be Fed With Apples While You May" from his "Mid-Winter Songs") and Conrad Susa ("Winds of May" from his "Six Joyce Songs").
This is an eclectic collection, as individual for what it does NOT include as for what it does. For example, there is not a single song by Charles Ives (who wrote well over 150 of them, many of them beautiful), or by William Schuman (another prolific songwriter). England is represented only by Tavener, and therefore there are none of the fine songs written by John Rutter and Benjamin Britten. And there is nothing to represent 20th-century Scandanavia. (For example, though Einojuhani Rautavaara is mentioned in the booklet notes and has written many fine songs, none are included here.) Nevertheless, I hardly think that choral fans will be disappointed with the selection provided (chosen, I would guess, by both the chorus itself and by its conductor, Vance George).
Vance George certainly has the proper bona fides (mentoring under both Robert Shaw and Margaret Hillis, herself a Shaw acolyte), and he has developed the San Francisco Symphony Chorus to an enviable level (as can be demonstrated by the fine support they provide for a number of orchestral/choral works conducted by Michael Tilson Thomas). Clearly, this chorus must number among the top half-dozen currently supporting major orchestras in the U.S.
The recorded sound quality is mostly excellent, although a few of the tracks don't seem to be representative of the usual Delos mastery of capturing sound in difficult acoustical environments. But, then, Davies Hall (the home of the San Francisco Symphony Orchestra) is quite well-known for its tricky acoustics.
The booklet notes - by Laura Stanfield Prichard - are good for what they are. The organization of the notes follows neither the strict chronology of the works nor the actual playing order. But the notes do a reasonable job of describing the works themselves, save for any mention whatsoever of Jerome Kern or of the arranger who provided the drop-dead-gorgeous setting of "All the Things You Are."
But, despite these nitpicking minor criticisms of mine, if you are - like me - a choral junkie, you'll want this album in your collecction. For all the good reasons I've highlighted above. And most especially for Sam Barber's "The Coolin."
Bob Zeidler
Exceptional tone and quality.......2001-06-05
Exceptional tone and quality.......2001-06-05
Exceptional tone and quality.......2001-06-05
Average customer rating:
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Bejun Mehta - Songs and arias of Handel, Schubert, Brahms, Britten
George Frideric Handel , Franz Schubert , Johannes Brahms , Benjamin Britten , Bejun Mehta , David Shifrin , Carol Rosenberger , and Los Angeles Chamber Orchestra Principas Manufacturer: Delos Records ProductGroup: Music Binding: Audio CD All Works by Brahms
| Brahms, Johannes
| ( B )
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| Classical
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All Works by Britten
| Britten, Sir Benjamin
| ( B )
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All Works by Handel
| Handel, George Frideric
| ( H )
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| Schubert, Franz
| ( S )
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ASIN: B0000006VF Release Date: 1992-12-11 |
Tracks:
- If God Be For Us
- Where'er You Walk
- So Shall The Lute And Harp Awake
- What Though I Trace
- How Beautiful Are The Feet
- With Thee, The Unsheltered Moor I'd Tread
- The Shepherd On The Rock - Schubert
- Ladybug
- My Sweetheart Has Rosy Lips
- Down Deep In The Valley
- A Tree Is Standing
- The Last Rose Of Summer
Customer Reviews:
One of the greatest treasures.......2003-06-02
He has a total control over the high notes also. You will hear the most beautiful pianissimo, soft, expressive, and floaty, in those otherwise ear-spliting pitches. His runs are also incomparable, very clear, driven, profound, and accurate. You will have to hear them at least once in your life time!
I have let my two teenage nephews, who knew nothing but rock music, listen to this CD, and lo and behold, they couldn't stop listening to it. We were on a trip to Yellow Stone at that time, a long boring drive, and they kept on asking me to play it over and over. We ended up listening to it several hours straight every day for 3 days! A different kind of excitement from rock music, every time the fast runs came, they couldn't stop dancing in the car mimicking them. The whole CD made them simply happy and jubilant. As a result, the otherwise boring long drive became a very happy, fun trip.
The only drawback is that his words are not very clear, and at times the accent is poor. But his musicality and mature expressions off-set it. Even if you don't understand the words, these songs will surely make your day. This is one of those CDs that proves that classical music can be much more exciting and fun than popular music. Good for kids, teenagers, and adults.
The perfect voice.......2002-12-02
Mr. Mehta demonstrated sophisticated and precoscious techniques which made his gifted timbre even more unparalleled. His diction is not quite crisp. My conjecture that it's due to his nasal technique, not unfamiliar to a countertenor, the unique head voice suited to a boy's changing voice. Maybe, also because of this, the color of Mr. Mehta's voice on this CD is especially touching - woeful but never strident nor forced in high notes. The aria "If God Be for Us" is most sentimental and brings an aetheist to tears!
Wow - the range of this young man's voice!.......2000-04-18
Average customer rating: 
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Paul Robeson, Vol. 2
Manufacturer: Pearl ProductGroup: Music Binding: Audio CD General
| Blues
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| Blues
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All Works by Gounod
| Gounod, Charles
| ( G )
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Robeson, Paul
| ( R )
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General
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General
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Similar Items:
ASIN: B000000WUH Release Date: 1993-01-04 |
Tracks:
- Down In Lovers Lane
- Swing Along
- Bear De Burden - All God's Chillun Got Wings
- Witness
- Joshua Fit De Battle Of Jericho
- De Ole Ark's A-Movering
- Ezekiel Saw De Wheel
- Scandalise My Name
- Sinner Please Doan' Let This Harves' Pass
- Work All De Summer
- Didn't My Loard Deliver Daniel?
- Dere's A Man Goin' Roun' Takin' Names
- Shenandoah
- Say It With Song: Little Pal
- The Show Boat: Lonesome Road
- Virginia: Roll Away, Clouds
- King Solomon's Mines: Ho! Ho!
- King Solomon's Mines: Climbing Up
- Song Of Freedom
- Song Of Freedom: Sleepy River
- Trees
- No! John No!
- Song Of The Volga Boatmen
- There Is A Green Hill
- Nearer, My God, To Thee
- Fat Little Fellow - Mama's Little Baby-Love
Average customer rating:
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Les introuvables de Cziffra
Manufacturer: EMI Int'l ProductGroup: Music Binding: Audio CD Bourees
| Ballets & Dances
| Classical
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Galops
| Ballets & Dances
| Classical
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Polonaises
| Ballets & Dances
| Classical
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Waltzes
| Ballets & Dances
| Classical
| Styles
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All Works by Carl Philipp Emman. Bach
| Bach, Carl Philipp Emman.
| ( B )
| Featured Composers, A-Z
| Classical
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All Works by Beethoven
| Beethoven, Ludwig van
| ( B )
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| Classical
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All Works by Brahms
| Brahms, Johannes
| ( B )
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All Works by Chopin
| Chopin, Frédéric
| ( C )
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| Classical
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General
| Couperin, François
| ( C )
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Cziffra, György
| ( C )
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General
| Franck, César
| ( F )
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Grieg, Edvard
| ( G )
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All Works by Liszt
| Liszt, Franz
| ( L )
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All Works by Lully
| Lully, Jean-Baptiste
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All Works by Rameau
| Rameau, Jean Philippe
| ( R )
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All Works by Domenico Scarlatti
| Scarlatti, Domenico
| ( S )
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All Works by Robert Schumann
| Schumann, Robert
| ( S )
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All Works by Tchaikovsky
| Tchaikovsky, Peter Ilyich
| ( T )
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All Works by Mendelssohn
| Mendelssohn, Felix
| ( M )
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All Works by Hummel
| Hummel, Johann Nepomuk
| ( H )
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ASIN: B000002SBW Release Date: 2002-08-12 |
Tracks:
- La Campanella, Grande Etude De Paganini No. 3
- Nocturne No. 3 In A Flat Major, Reve D'Amour
- Mephisto Valse (D'Apres Le Faust De Lenau)
- Les Jeux D'Eau A La Villa D'Este
- Valse Oubliee No. 1
- Rhapsodie Espagnole
- Valse Impromptu
- La Ronde Des Lutins, Etude De Concert No. 2
- Grand Galop Chromatique
- Apres Une Lecture Du Dante, Fantasie Quasi Sonata (Extrait From 'Les Annees De Pelerinage')
Tracks:
- Polonaise D'Eugene Oneguine (Tchaikovsky)
- Rigoletto, Paraphrase De Concert (Verdi)
- Tarentelle De Bravoure Sur Des Theme De 'La Muette De Portici' (Auber)
- Valse De Faust (Gounod)
- Improvisation Sur Les Themes De Guillaume Tell (Rossini)
- Valse Triste (Vecsey)
- Tritsch Tratsch Polka (Johann Strauss)
- Le Beau Danube Bleu, Paraphrase (Johann Strauss)
- Danse Hongroise No. 5 (Brahms)
- Fantaisie Roumaine (Improvisation Dans Le Style Tzigane)
- Le Vol Du Bourdon (Rimsky-Korsakov)
Tracks:
- Islamey, Fantaisie Orientale
- Toccata In C Major, Op. 7
- Andante Et Rondo Capriccioso In E Major, Op. 14
- Rondo In E Flat Major, Op. 11
- Polonaise In C Major, Op. 89
- Rondo A Capriccio In G Major, Op. 129
- Andantino In B Minor
- Bourree In E Flat Major
- Sonata In C Major, K159
- Le Tic Toc Choc ,Ou Les Maillotins
- Les Barricades Mysterieuses
- L'Anguille
- La Bandoline
- Les Petits Moulins A Vent
- Les Folies Francaises Ou Les Dominos
- La Poule
- Le Rappel Des Oiseaux
- Gavotte En Rondeau
Tracks:
- Variations In C Major, Sur 'God Save The King', WoO 78
- 12 Variations In A Major, Sur Un Theme Russe (Wranitzky), WoO 71
- 32 Variations In C Minor, WoO 80
- Fantaisie In F Minor, Op. 49
- Book 1 - Variations Sur Un Theme De Paganini, Op. 35
- Book 2 - Variations Sur Un Theme De Paganini, Op. 35
Tracks:
- I. Grave - Allegro Molto E Con Brio, Sonata No. 8 In C Minor, Op. 13
- II. Adagio Cantabile, Sonata No. 8 In C Minor, Op. 13
- III. Rondo, Sonata No. 8 In C Minor, Op. 13
- I. Allegro - Sonata No. 10 In G Major, Op. 14
- II. Andante - Sonata No. 10 In G Major, Op. 14
- III. Scherzo -Allegro Assai - Sonata No. 10 In G Major, Op. 14
- I. Andante Con Variazioni - Sonata No. 12 In A Flat Major, Op. 26
- II. Scherzo (Allegro Molto) - Sonata No. 12 In A Flat Major, Op. 26
- III. Marcia Funebre (Andante Maestoso) - Sonata No. 12 In A Flat Major, Op. 26
- IV. Allegro - Sonata No. 12 In A Flat Major, Op. 26
- I. Andante - Allegro -Allegro Molto Vivace - Sonata No. 13 In E Flat Major, Op. 27
- II. Adagio Con Espressione - Sonata No. 13 In E Flat Major, Op. 27
- III. Allegro Vivace - Sonata No. 13 In E Flat Major, Op. 27
Tracks:
- Preambule Carnaval Op9
- Pierrot Carnaval Op9
- Arlequin Carnaval Op9
- Valse Noble Carnaval Op9
- Eusebius Carnaval Op9
- Florestan Carnaval Op9
- Coquette Carnaval Op9
- Replique Carnaval Op9
- Papillons Carnaval Op9
- A.S.C.H., S.C.H.A., Lettres Dansantes Carnaval Op9
- Chiarina Carnaval Op9
- Chopin Carnaval Op9
- Estrella Carnaval Op9
- Reconnaissance Carnaval Op9
- Pantalon Et Colombine Carnaval Op9
- Valse Allemande - Intermezzo: Paganinni Carnaval Op9
- Aveu Carnaval Op9
- Promenade Carnaval Op9
- Pause Carnaval Op9
- Danse Des Davidsbundler Contre Les Philistins Carnaval Op9
- I. Des Abends Fantasiestucke Op12
- II. Aufschwung Fantasiestucke Op12
- III. Warum? Fantasiestucke Op12
- IV. Grillen Fantasiestucke Op12
- V. In Der Nacht Fantasiestucke Op12
- VI. Fabel Fantasiestucke Op12
- VII. Traumeswirren Fantasiestucke Op12
- VIII. Ende Vom Lied Fantasiestucke Op12
- I. Allegro - Carnaval De Vienne, Op. 26
- II. Romanze - Carnaval De Vienne, Op. 26
- III. Scherzino - Carnaval De Vienne, Op. 26
- IV. Intermezzo - Carnaval De Vienne, Op. 26
- V. Final - Carnaval De Vienne, Op. 26
Tracks:
- Fantaisie Hongroise In F Major For Piano And Orchestra
- Totentanz, Paraphrase Sur Le 'Dies Irae' Pour Piano Et Orchestre
- Variations Symphoniques Pour Piano Et Orchestre
- I. Allegro Molto Moderato - Concerto For Piano And Orchestra In A Minor, Op. 16
- II. Adagio - Concerto For Piano And Orchestra In A Minor, Op. 16
- III. Allegro Moderato Molto E Marcato - Andante Maestoso - Concerto For Piano And Orchestra In A Minor, Op. 16
Tracks:
- I. Adagio Sostenuto Assai - Concerto No. 2 For Piano And Orchestra In A Major
- II. Allegro Agitato Assai - Concerto No. 2 For Piano And Orchestra In A Major
- III. Allegro Moderato - Concerto No. 2 For Piano And Orchestra In A Major
- IV. Allegro Deciso - Concerto No. 2 For Piano And Orchestra In A Major
- V. Marziale, Un Poco Meno Allegro - Concerto No. 2 For Piano And Orchestra In A Major
- VI. Allegro Animato - Concerto No. 2 For Piano And Orchestra In A Major
- I. Allegro Maestoso - Concerto No. 1 For Piano And Orchestra In E Flat Major
- II. Quasi Adagio - Concerto No. 1 For Piano And Orchestra In E Flat Major
- III. Allegretto Vivace - Allegro Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
- IV. Allegro Marziale Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
- I. Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
- II. Andante Semplice - Prestissimo - Tempo 1 - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
- III. Allegro Con Fuoco - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
Customer Reviews:
Stunning. . . . .......2007-01-10
I have been very pleasantly surprised, especially at his Beethoven and his Schumann. I found that he kept the spontaneity of his Lisztian interpretations, but channelled it chronologically into insightful and spontaneous Beethoven interpretations, while respecting most of the rules and performance practices of the Classic era.
His Schumann was mercurial and spontaneous in a Romantic fashion, also, and - of course - brilliantly digitally played. As to the Liszt, it's par excellence; I've never heard that music played with such spontaneity and
digital fluency.
The sound quality is surprisingly good, altho somewhat uneven. I highly recommend this set to anyone who loves great piano-playing. My favorite pianist is still Richter, but Cziffra takes first prize in his Liszt, and runs a close second with other composers' music.
PORTRAIT OF AN ARTIST.......2006-10-15
Cziffra himself didn't aid popular comprehension by saying that he couldn't play Beethoven. I already owned his Waldstein, but here we have four more sonatas plus some smaller pieces, all early works. If I have a fault to find with his Waldstein it's that it is rather understated. What I don't fault at all is his sense of Beethoven's idiom, and the only flash of Cziffra's phenomenal technique comes where there can be no objection in the up-and-down octaves near the end. These are normally played glissando, because to finger them in strict time is impossible, allegedly. Even Horowitz can't do that - but Cziffra can. This really sums up his way of doing things - the technique is exercised strictly when needed, and then not in a showy way unless the sense of the music demands that. Try the Mendelssohn rondo here - light-fingered in the main rondo theme, relaxed in the episodes - then hear Serkin on Aura in his 1957 recital in Lugano, high-tension and full-speed-ahead. Serkin brought the audience to its feet, Cziffra is simply enjoying the piece, and very Mendelssohnian he sounds. Or again the Schumann toccata. Richter won raptures from the critics for his handling of the rat-tat fortissimo chords near the end while making no concessions to the tempo. He does that no better than Cziffra, if as well. The difference is that Richter `makes more' of the supposedly virtuoso sequences earlier. Now how about Cziffra's Beethoven here? It is natural, idiomatic and kept within a certain volume-level. There is no showing off let alone messing around. If Cziffra recalls anyone it is Kempff, and these performances would be safe models for teachers. In Schumann it's the same story. Not everyone could play Traumeswirren like this, and here and there the finger-work had me rubbing my eyes, but I keep sensing that Cziffra is not even aware that he's doing anything exceptional. The idiom is dead right, the rubato is natural, the lyricism is spontaneous if less `warm' than some, the sense of the overall structure is effortless - and I could say all that about Chopin's F minor fantasy too.
I can't avoid Liszt, but some comparisons are interesting. This high-powered Totentanz has been rightly praised, but both in this work and in the first concerto I feel that Michelangeli beats Cziffra at what is supposedly Cziffra's own game. I hear Michelangeli as Cziffra's solitary equal as a technician, but in second-rate music like this spontaneity and dexterity are trumped by an above-it-all Olympian aloofness, and Cziffra undoubtedly does not take the ultra-care that Michelangeli takes over perfect evenness of touch, sublime poise in the rhythm and super-perfection in the trills. (In the matter of trills, you can hear what Cziffra can do when he puts his mind to it in the fiendish 4th variation in book 1 of Brahms's Paganinis). In the 2nd concerto Cziffra is the best I have yet heard. In sheer technical address neither he nor anyone surpasses Richter, but where I like Cziffra better is in an aspect of his playing that gets too little attention, namely his natural and unaffected lyricism. In the Hungarian Fantasy, the Liszt solos and the various arrangements I imagine Cziffra is unsurpassed and unsurpassable, not that I propose to research that matter much.
The Grieg and Tchaikovsky concertos are here too. Cziffra adopts moderate tempi in the outer movements of the Grieg as the composer directs. The first movement of the Tchaikovsky is done as I like it, insofar as I like it at all. The introduction is taken fast, rather as Horowitz and Toscanini take it although I miss Toscanini's direction. The last movement however is taken at a very moderate pace, with the excitement saved for the end. Later performances are of some French music. In these pieces, as in the Scarlatti sonata, I wouldn't say that Cziffra stands out particularly - with one telling exception, Couperin's Barricades Mysterieuses, atmospheric and bewitching. Was this what they told you to expect from Cziffra?
He was a natural, a child of the gods. The near-unbelievable technique was an important part of his gift, but what I prize most is his lyric manner - simple, innocent and clear-eyed. His actual touch is not one that you could identify within seconds, as you could identify that of Horowitz, Serkin, Richter or Michelangeli, but it is utterly free from affectation. The better you know him, the more you will love him.
A world-changing musician.......2006-01-30
CZIFFRA - A Keyboard Phenomenon.......2001-05-26
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The English Anthem, Vol. 3
Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD All Works by Elgar
| Elgar, Sir Edward
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| Holst, Gustav
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| Tavener, John Kenneth
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| Walton, Sir William
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ASIN: B000002ZRW Release Date: 1995-04-16 |
Tracks:
- O How Glorious
- The Lord Is My Shepard
- Hymn To The Mother Of God
- Expectans Expectavi
- Faire Is The Heaven
- Come, O Holy Ghost, Our Souls Inspire
- In Exitu Israel
- At The Round Earth's Imagined Corners
- Set Me A Seal Upon Thine Heart
- Turn Back, O Man
- There Is An Old Belief
- Give Unto The Lord
Customer Reviews:
Satisfying programme.......2001-01-07
St. Paul's Cathedral Choir recorded it at about the same time that they made their Kenneth Leighton disc, hence the featured treble soloist on both is Thomas Colwell. His voice is particularly arresting, for instance, at the opening of Thomas Attwood's "Come, Holy Ghost" - by far the simplest work on the disc, within the grasp of even the smallest of choirs. At the other end of the spectrum is Robert Saxton's "At the round earth's imagined corners," commissioned by the choir in the early 90s, which is surprisingly effective and accessible compared to some of his (and his contemporaries) other works. As always with this series, the choir make these contrasted simple and complex works sound effortless.
Other works on the programme include Basil Harwood's "O how glorious is the Kingdom," William Harris's evergreen "Faire is the heaven," William Walton's exquisite and much-loved setting of "Set me as a seal" and one of Hubert Parry's "Songs of Farewell" - in this case, "There is an old belief." John Tavener's "Hymn to the Mother of God" makes a good impression here, although it's a pity that it's companion "Hymn for the Dormition of the Mother of God" is absent - the two are always presented together on recordings and were first performed together liturgically. "Turn back, O man" by Gustav Holst receives a most stirring rendition. The disc ends with Edward Elgar's very fine, cantata-like setting of Psalm 29, "Give unto the Lord," written for first performance at St. Paul's and sounding particularly glorious in the vast resonance of the building under the care of John Scott and his forces.
A worthy companion to the others in the series: well-recorded, beautifully performed and ingeniously devised. This is cathedral music at its best.
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Henry Purcell: The Complete Anthems and Services, Vol. 1
Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD Purcell, Henry
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ASIN: B000002ZR3 Release Date: 1993-11-19 |
Tracks:
- O Sing Unto The Lord: Symphony
- O Sing Unto The Lord: O Sing Unto The Lord A New Song...
- O Sing Unto The Lord: Sing Unto The Lord And Praise His Name...
- O Sing Unto The Lord: The Lord Is Great And Cannot Worthily Be Praised...
- O Sing Unto The Lord: O Worship The Lord In The Beauty Of Holiness
- O Sing Unto The Lord: Tell It Out Among The Heathen That The Lord Is King
- O Praise God In His Holiness: Symphony
- O Praise God In His Holiness: Praise Him In His Noble Acts...
- O Praise God In His Holiness: Praise Him Upon The Well-Tuned Cymbals
- Praise The Lord, O Jerusalem: Symphony
- Praise The Lord, O Jerusalem
- Praise The Lord, O Jerusalem: Be Thou Exalted, Lord, In Thine Own Strength
- It Is A Good Thing To Give Thanks: Symphony
- It Is A Good Thing To Give Thanks: To Tell Of Thy Loving-Kindness...
- It Is A Good Thing To Give Thanks: O Lord How Glorious Are Thy Works...
- It Is A Good Thing To Give Thanks: For Thou, Lord, Hast Made Me Glad...
- O Give Thanks Unto The Lord: O Give Thanks Unto The Lord...
- O Give Thanks Unto The Lord: Who Can Express The Noble Acts Of The Lord...
- O Give Thanks Unto The Lord: Remember Me, O Lord...
- O Give Thanks Unto The Lord: That I May See The Felicity Of Thy Chosen...
- O Give Thanks Unto The Lord: Blessed Be The Lord God Of Israel...
- Let Mine Eyes Run Down With Tears: Let Mine Eyes Run Down With Tears...
- Let Mine Eyes Run Down With Tears: We Acknowledge, Lord, Our Wickedness
- Let Mine Eyes Run Down With Tears: Do Not Abhor Us, For Thy Name's Sake...
- My Beloved Spake: Symphony
- My Beloved Spake: For Lo! The Winter Is Past...
- My Beloved Spake: And The Time Of The Singing Of Birds Is Come...
- My Beloved Spake: Symphony
- My Beloved Spake: My Beloved Is Mine And I Am His.
Customer Reviews:
Essential Purcell compositions.......2004-10-07
The performances could not be bettered. The singers, choir and orchestra bring their all to these pieces.
The 11 volumes are expensive but really belong in every classical music lover's collection. Buy as many as you can afford.
The entire set is outstanding.......2003-01-16
Meditation Music:
- Cosmopoly [Enhanced] [Live]
- Creation Chant [Import]
- Dancing in the Garden of Light
- Darkness Into Light Vol I: Deep Meditation
- Deep Forest [CD-single]
- Echnaton's Return
- Ecologie
- Escape: Music for the Senses
- Gaelic Heart
- Good Morning Story
Meditation Music
Violinist Eric Shumsky Plays...
Travelling Ways-Anthology [Import]
Music: Albeniz: Songs Of Spain
Trapped in Crime [Explicit Lyrics]
Three Classic Albums [Box set] [Import]
Tour De France [CD-single] [Enhanced]
The Chrysalis Years [Import] [Original recording remastered]
Strings Attached: Sarod and Cello - Live at Royal Festival Hall [Live]