La Incomparable [Import]

1. Baño de Mar a Medianoche

2. Se Ha Puesto el Sol (Si È Spento il Sole)

3. Uno de Tantos (Uno Dei Tanti)

4. Aleluya

5. Buen Dia Tristeza (Buongiorno, Tristezza)

6. Como Una Ola

7. No Pasa Mas (Non Passa Più)

8. Es la Nostalgia

9. Tango de las Rosas (Tango Delle Rose)

10. Dilo Calladito

11. Quiero Vivir

12. Amor, Mon Amour, My Love

13. Ultimo Baile

14. Estamos Solas, Guitarra

15. Te Perdi

16. Dia de Sol

17. Media Luna (La Mezza Luna)

18. Todo Ya lo Se

19. Serenate

20. Pure de Papas

La Incomparable,Cecilia,EMI Int'l,Latin,Latin Continuum,New Age / Meditation,Pop

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
The Mahler Symphonies: An Owner's Manual (includes 1 CD)
The Young Person's Guide to the Orchestra (Book & CD)
Study of Orchestration, Third Edition
What to Listen for in Music

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Yradier: La Paloma
Massenet: Meditation from Thais
Barry: Theme from "Somewhere In Time"
Romero: Tango Angelita
Debussy: The Girl with the Flaxen Hair
Cordero: The Question
Schumann: Of Foreign Lands & Peoples
Schumann: Traumerei
Chopin: Waltz, Op. 34 No. 2
Chopin: Nocturne, Op. 9 No. 2
Beethoven: Adagio from "Moonlight" Sonata
Beethoven: Adagio from "Pathetique" Sonata
Bach: Air on the G String
Ravel: Pavane for a Dead Princess
Converse: A Prayer

Customer Reviews:

Angel Romero is Aptly Named.......2006-12-27

Before my father died in November, he told me about the Romeros and how much he had loved listening to them on a PBS special a few years ago and how their guitar playing never left his heart. He said that they were a national treasure in Spain and that he had tried to find their CDs for years but couldn't find them. I found the CDs here at Amazon ten minutes later. He died before the CDs arrived, but I sat down with a bottle of claret and listened to them-- this is one of my favourites that I ordered. On here, Angel's music brought me to tears and then to my knees as I listened to him strum Beetoven's Adagio from Moonlight Sonata. To me, classical music is more lovely on guitar than it is on piano, probably because my father loved it and passed on his love, but it's also more relaxing. Guitar music becomes a seduction under Angel's mastery. Look at his CD picture-- Angel is a stud, a cabellero if there ever was one. His passion is conveyed through his music.

We played this CD and several others by the Romeros at my father's funeral and people stopped and paused and listened and smiled and commented on how lovely the music was. It's soothing without putting the listener to sleep. I had never appreciated classical music before and this CD has made me take a few lessons on guitar so I can understand it better and appeciate the artistry more.

Beautiful !!.......2005-12-19

I have many CDs of other classical guitarists like John William, Julian Bream, David Russel etc. I decided to try out Angel Romero's "Bella" and was simply awe struck. Every single track is exquisitely interpreted and played with such musicianship seldom found elsewhere. His phrasing and the tone of his sound is amazing. He uses a Daniel Friedrich guitar in this recording and the sound quality is top notch. This collection is dedicated to his parents and contains some of the most relaxing and beautiful guitar music you can find. The only reason why i gave four instead of five stars is because i was hoping for some fast tracks in the CD but other than that you will not regret it! Enjoy!

Incomparable indeed!.......2002-07-12

For those of you who know Angel Romero and his family, this is a confirmation of their undebatable status as the first family of Spanish guitar. For those of you who do not, this is a good introduction to the best form of art of its kind.

Average customer rating:

This cd shows why Kraus is the BEST tenor in last 50 years

Incomparable Alfredo Kraus

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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The Very Best of Alfredo Kraus

ASIN: B0000041B7
Release Date: 1995-06-13

Tracks:

'Il Etait Une Fois A La Cour D'Eisnach'
'E La Solita Storia'/'Anch'io Vorrei Dormir Cosi'
'Partir Degg'io'/'T'amo Qual S'ama Un Angelo'
'Ah Mes Amis'/'Pour Mon Ame'
'Quel Trouble Inconnu Me Penetre?'/'Salut! Demeure Chaste Et Pure'
'Deserto In Terra'
'Puisqu'on Ne Peut Flechir Ces Jalouses Gardiennes'/'Vainement Ma Bien...
'La Maitress Du Roi?'/'Ange Si Pur'
'Popoli Dell'Egitto'
'Prendre Le Dessin D'un Bijou'/'Fantaisie Aux Divins Mensonges'
'Di Rigori Armato Il Seno'

Customer Reviews:

This cd shows why Kraus is the BEST tenor in last 50 years.......1998-09-29

This record was recorded in 1994, when Kraus was 67 years-old. Believe me, I've heard Kraus' records recorded in virtually any step in his career:singing Spanish popular songs, neapolitan songs, zarzuela arias, standard repertoire arias, etc.THE SPECIAL THING ABOUT THIS CD IS THAT HERE KRAUS PRESENTS THE BEST VOICE OF HIS ENTIRE LIFE!!! Singing Arias from the standard repertoire and rare arias,he choose too some of the most difficult arias. The record starts with the Kleinzach Legend aria from "Les Contes d'Hoffmann" in which Kraus shows his perfect pronunctiation and gives a shining high note at the end of the aria. He sings too the aria known as "Il Lamento di Federico" fron Cilea's L'Arlesiana, with the high optional high note at the end and with a perfect delivery of every phrase of this legendary aria. Between others,Kraus sings the famous "Aria di Tonio" from "La fille du régiment", which made Pavarotti famous by singing 9 repeated high C's, here Kraus gives them fully chested and without any effort.The aria that I found the most thrilling in this record is a rare aria from "Il crociato in Egitto" by Meyerbeer, called "Popoli dell'Egitto".It requires repeated high C's and D's with many up-and-down-the-scale fragments, as it is the initial heroic declamation, sweet belcanto singing in the middle,and heroic finish. The record presents the famous aria "Salut! Demeure chaste et pure" from Gounod's Faust and the italian-singer aria "Di rigori armato in seno" from Strauss' "Der Rosenkavalier".In most of them Kraus applies a personal touch with shining high notes that add vitality and meaning to the arias, as well as beatiful belcanto singing where required. The record also comes with a booklet that contains biographical info and contains the lirics and translations of the arias. This record is a real collectors piece. In each and every one of the arias Kraus shows the best voice os his life, of a career lasting more than 40 years. That's why he is the best tenor of the last 50 years: He has avoided the extremes that has ruined every tenors voice, and has kept intact one of the most beautiful and complete voices of history, with perfect pronuctiation, extraordinary range (specialy in the acute) and complete feeling of every phrase he sings. Long live the King-Kraus!

Sainte-Colombe: Concerts a deux violes esgales, Vol. 1: Concerts I à XVIII

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Sainte-Colombe: Concerts a deux violes esgales, Vol. 1: Concerts I à XVIII

Manufacturer: Atma Classique
ProductGroup: Music
Binding: Audio CD

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Sainte-Colombe: Concerts a deux violes esgales, Vol. 2
Sainte-Colombe: Concerts a deux violes esgales, Vol. 3
Sainte-Colombe: Concerts a deux violes esgales, Vol. 4
L'Ange Marais: Pièces á trois violes
C Simpson: The Seasons, The Monthes & other divisions of Time, Vol 1 /Watillon * Heumann * Franklin * Spaeter * Guglielmi

ASIN: B0000CAOC1
Release Date: 2003-09-30

Massenet: Thaïs / Sills, Milnes, Gedda; Maazel

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Lapsing Faith and Lost Beauty
Stylish Thais Set
AN UNDER-APPRECIATED GEM
A fad
Lovely but too late

Massenet: Thaïs / Sills, Milnes, Gedda; Maazel
Jules Massenet , Lorin Maazel , Beverly Sills , Nicolai Gedda , New Philharmonia Orchestra , John Alldis Choir , Sherrill Milnes , and Norma Burrowes
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Operettas | Opera & Vocal | Styles | Music
Similar Items:

Massenet: La Navarraise / Horne, Domingo, Milnes, Bacquier, Zaccaria, Davies, LSO, Lewis
Massenet: Le Cid (Complete) [Germany]
Massenet: Manon
Bellini: I Capuleti e i Montecchi
Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)

ASIN: B000002S67
Release Date: 1995-09-26

Tracks:

Thais: Act I - Scene I : Voici le pain...Et le sel (Cenobites, Palemon)
Thais: Act I - Scene I : Le voici! Le voici! (Cenobites, Athanael, Palemon)
Thais: Act I - Scene I : Helas! enfant encore (Athanael)
Thais: Act I - Scene I : Ne nous melons jamais, mon fils (Palemon, Cenobites, Athanael)
Thais: Act I - Scene I : Vision (Orchestre)
Thais: Act I - Scene I : Toi, qui mis la pitie dans nos ames (Athanael)
Thais: Act I - Scene I : Mon fils, ne nous melons jamais (Palemon, Athanael, Cenobites)
Thais: Act I - Scene II : Prelude (Orchestre)
Thais: Act I - Scene II : Va, mendiant chercher ailleurs ta vie! (Serviteur, Athanael)
Thais: Act I - Scene II : Voila donc la terrible cite (Athanael)
Thais: Act I - Scene II : Ah! Ah! Ah!...Athanael, c'est toi!
Thais: Act I - Scene II : Ah! Ah! Ah!...Je vais donc te revoir (Crobyle, Myrtal, Nicias, Athanael)
Thais: Act I - Scene II : Gorde-toi bien! Voici ta terrible ennemie! (Nicias, Choeur)
Thais: Act I - Scene II : C'est Thais, I'idole fragile (Thais, Nicias)
Thais: Act I - Scene II : Quel est cet etranger (Thais, Nicias, Athanael)
Thais: Act I - Scene II : Qui te fait si severe (Thais, Nicias, Choeur)
Thais: Act I - Scene II : Non! Non! je hais vos fausses ivresses (Athanael, Thais, Nicias, Choeur)
Thais: Act II - Scene I : Ah! je suis seule, seule enfin!
Thais: Act II - Scene I : Dis-moi que je suis belle (Thais)
Thais: Act II - Scene I : Etranger, te voila comme tu l'avais dit
Thais: Act II - Scene I : Eh bien, fais-moi connaitre tout cet amour
Thais: Act II - Scene I : Je suis Athanael, moine d'Antinoe! (Thais, Athanael, Nicias)
Thais: Act II - Scene I : Je n'ai pas plus choisi mon sort que ma nature (Thais, Athanael, Nicias)
Thais: Act II - Scene I : Meditation Religieuse - Symphonie (Orchestre)

Tracks:

Thais: Act II - Scene II : Pere, Dieu m'a parle par ta voix,
Thais: Act II - Scene II : Non loin d'ici, vers I'occident
Thais: Act II - Scene II : Considere, o mon pere (Thais, Athanael)
Thais: Act II - Scene II : Suivez-moi tous, amis! (Nicias, Choeur, Crobyle, Myrtal)
Thais: Act II - Scene II : Divertissement (i) (Orchestre)
Thais: Act II - Scene II : Voila I' Incomparable! (Nicias)
Thais: Act II - Scene II : Celle qu vient est plus belle (Crobyle, Myrtal)
Thais: Act II - Scene II : Divertissement (ii) (Orchestre)
Thais: Act II - Scene II : Eh! c'est lui!...Athanael! (Nicias, Choeur, Athanael)
Thais: Act II - Scene II : II dit vrai! (Thais, Nicias, Athanael, Choeur)
Thais: Act III - Scene I : L'ardent soleil m'ecrase
Thais: Act III - Scene I : Ah! des gouttes de sang coulent de ses pieds (Thais, Athanael)
Thais: Act III - Scene I : O messager de Dieu, si bon dans ta rudesse (Thais)
Thais: Act III - Scene I : Baigne d'eau mes mains et mes levres (Thais, Athanael, Choeur)
Thais: Act III - Scene I : La paix du Seigneur soit avec toi (Athanael, Albine)
Thais: Act III - Scene I: Mon oeuvre est accomplie! (Athanael, Thais, Albine, Choeur)
Thais: Act III - Scene II : Que le ciel est pesant! (Cenobites, Palemon, Athanael)
Thais: Act III - Scene II : C'est lui qui vient! (Athanael, Palemon)
Thais: Act III - Scene II : Qui te fait si severe (Thais, Athanael, Choeur)
Thais: Act III - Scene II : Thais va mourir! (Athanael)
Thais: Act III - Scene III : Seigneur, ayez pitie de moi (Choeur, Albine)
Thais: Act III - Scene III : Sois le bienvenu dans nos tabernacles (Albine, Athanael, Choeur)
Thais: Act III - Scene III : C'est toi, mon pere! (Thais, Athanael)

Amazon.com

This set is primarily for devoted fans of Beverly Sills, for fans of Sherrill Milnes in his prime, and for those who must have the uncut version where it's available. The estimable Ms. Sills was in less than ideal voice for the making of this recording, which is unfortunate, but the artistry still shines through. Mr. Milnes sings with rich tone. But Lorin Maazel's conducting is leaden and out of empathy with the score. --Sarah Bryan Miller

Customer Reviews:

Lapsing Faith and Lost Beauty.......2006-09-23

The reason I assign the recording four stars rather than five is that the pathos of the opera strikes me as too extreme. The same combination of exquisite beauty and suffocating pathos turns up in Barbra Streisand's song "The Way we Were." Beverly Sills sings the pathetic part of Thais to the hilt; and Massenet's familiar "religious meditation" does the rest. All of these intensely pathetic operas including Pagliacci and Tosca derive from the epoch-making example of Wagner's Tristan und Isolde with its unrelieved love-and-death sorrow. As a Christian I associate this powerful tradition with lapsing faith in Europe after 1865. Massenet's opera treats the early Christian monks of Egypt as caught up in tragic error. Thais is a supremely beautiful woman won from a life of immorality to Christianity by a well-intentioned monk who knew her in his earlier days. As the converted Thais lives and dies for the abstract reward of heaven, the monk grieves over the beauty he has destroyed. The real spiritual solution to the dilemma posed by the opera lies in the correlation between future resurrection, universal vitality and intense beauty; but theologians have generally missed he point and shown more interest in heaven than in concrete resurrection. In any case there was no way out for Massenet and his source.

Stylish Thais Set.......2005-10-16

This 1976 recording of Thais is my favorite of the two recordings I have - the other being the Fleming/Hampson. Sills' vibrato is a little more pronounced here than it was a few years earlier, but it doesn't bother me. She still has a gorgeous voice and brings this conflicted character vividly to life. Having studied with the likes of Mary Garden as a young singer, Sills has an innate understanding of the French style, and uses her voice with much imagination and flair. Also, the character of Thais is not supposed to be a young girl - an aging courtesan of 30ish or so... Sherrill Milnes, in a departure from his usual Italian repertoire, sings a most impassiaoned Athaneal - the voice full and resonant, the character's obessiveness wonderfully realized. I think he never did anything better on disc. Nicolai Gedda is a little past his best here, but like Sills understands the French style and delivers the vocal goods as required. Maazel conducts an exciting performance (even playing the solo violin in the Meditation himself) and the sound is excellent. The Fleming/Hampson set is beautifully sung, but I feel the drama of the story is not fully realized somehow - hard to put my finger on what's missing there. This Thais is one of my favorite French opera recordings - recommended highly.

AN UNDER-APPRECIATED GEM.......2004-12-03

Late 19th-century French opera is often disparaged these days, which isn't really fair. Delibes had some beautiful melodies, and Massenet was a much better composer than many give him credit for. And although "Manon" and "Werther" may be more famous, to me, his late opera "Thais" is his masterpiece. There are three major recordings of this opera, one with Anna Moffo, Gabriel Bacquier and Jose Carreras, a recent one with Renee Fleming, Thomas Hampson and Giuseppe Sabattini, and this 1976 recording with Beverly Sills, Sherill Milnes, and Nicolai Gedda. All three versions have their strengths and weaknesses. The Moffo/Bacquier vesion, although excellent and showing Carreras in his prime, is unavailable. (I'm not sure it was ever issued in CD.) The Fleming/Hampson recording is also excellent--Fleming has a gorgeous and luscious voice, and Hampson a silky smooth baritone--but I find myself reaching for the Sills/Milnes version most often.
Sills was past her prime when she recorded this, and her high notes are a little thin and sometimes wobbly. Nevertheless, her artistry is so great that she infuses the role of the courtesan with the tremendous drama the role requires. Thais' radical change of character, from the insouciant hedonist to the redeemed penitent, is gloriously demonstrated in Sills' portrayal.
And this opera is as much about Athanael as it is Thais. Milnes, at the height of his career when he recorded this in 1976, brings tremendous power and vitality to the role of the priest, whose reverse progression from moralistic religious surety to tortured doubt parallels that of Thais, the object of his forbidden love. Nicolai Gedda's singing is, as always, stylish and graceful, and Loren Maazel's reading of the score is well paced and forceful. This recording belongs in all opera collections.

A fad.......2004-05-21

This Thais is ruined by Sills. Buy Renee Fleming's Thais instead. She has the big voice, the looks and the talent. Sills didn't, all she can do is make my ears bleed. Shame on that shrieker!

Lovely but too late.......2004-02-24

I have a live-recording with Sills which is MUCH better. Sills was always at her best live on stage. For studio-recordings get the Fleming-set or the sadly cut recording with the divine Renee Doria. (My favourite Thais)

The Incomparable Callas (Favourite Arias)

Average customer rating:

A fabulous compilation of the divine one!
poor sound, bad singing
Summit of expressing human instinct

The Incomparable Callas (Favourite Arias)

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000002S16
Release Date: 1990-05-07

Customer Reviews:

A fabulous compilation of the divine one!.......2004-01-14

AMAZON, please re-release this gem! It's simply fantastic!

poor sound, bad singing.......2003-05-26

Poor sound, bad singing. Stay away from this one.

Summit of expressing human instinct.......1999-06-19

No more words to follow. She is the center of my universe already. Only with this album, she contributed to pushing this world of human being into divinity.

La Incomparable Celia Con La Sonora Matancera

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La Incomparable Celia Con La Sonora Matancera

Manufacturer: PEERLESS
ProductGroup: Music
Binding: Audio CD

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ASIN: B000GC9FHG

Product Description

RARE CD BY CELIA CRUZ & LA SONORA MATANCERA. MANY OF THE TRACKS INCLUDES ARE NOT FOUND IN ANY OF HER OTHER COMPILATIONS. CHANGO TA VENI/BAJO LA LUNA/DILE QUE POR MI NO TEMA/MADRE RUMBA/PALMERAS TROPICALES/TUMBA/LA CUMBANCHERA DE BELEN/RAREZA DEL SIGLO/POCO A POCO/BAHO KENDE/LOS RITMOS CAMBIAN/QUE VOY A HACER.

Paquita La Del Barrio, La Incomparable, Libro Abierto - Hoy Se Mas - Arrastrate

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Paquita La Del Barrio, La Incomparable, Libro Abierto - Hoy Se Mas - Arrastrate
Paquita La Del Barrio
Manufacturer: Bci Music/Ka
ProductGroup: Music
Binding: Audio CD

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Latin Pop | Latin Music | Styles | Music

Bolero | Latin Music | Styles | Music

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ASIN: B00004WZ14
Release Date: 1999-04-15

Tracks: