Miro [Import]

Miro [Import]

Track Listings

1. God

2. Lullaby

3. Long Time Since

4. Moonchild

5. Remember Me

6. Devil

7. Are You Crazy

8. I Wanna Know Your Name

9. Heal Me

10. Mother In Time

11. Come On

12. Criminal Act

Tracks:

O mio babbino caro (from 'Gianni Schicchi')
The Girl With Flaxen Hair (from Preludes, Book I; La fille aux cheveux delin: Prelude for Piano L 117/8)
Nocturne in C sharp minor (Op Post)
The Swan (from Carnival of the Animals)
Serenade (from 'Schwanengesang' song cycle for voice and piano, D 957
Casta Diva (from 'Norma')
Andante from Piano Concerto No. 21 in C Major K. 467
Nocturne from Quartet for Strings No. 2 in D Major: 3rd movement
Dance of the Blessed Spirits (from 'Orfeo ed Euridice')
Songs My Mother Taught Me, song for voice and piano B104/4 Op 55/4
Pur ti Miro (from 'L'incoronazione di Poppea')
Elegie (Elegie 'O doux printemps d'autrefois' for voice and piano)
Traumerei ('Kinderszenen' for piano, Op 15, No. 7 'Dreaming')

Amazon.com

Every track on this CD contains a beautiful melody, many of them easily recognizable, all of them exuding tranquility. "O mio babbino caro" from Puccini's Gianni Schicchi opens the disc, with Bell delicately accompanied by a harp and spinning the long melody with great sensitivity. Bellini's "Casta diva" from Norma lives up to its reputation as the epitome of bel canto in Bell's hands; his violin sings. The middle movement of Mozart's 21st Piano Concerto takes well to the violin, and Debussy's "The Girl with the Flaxen Hair" is played with great warmth and sensuality. It would be easy to turn a recital like this into treacle, but Bell is wise enough to realize that the music is already sweet enough and he plays with great reserve and a minimum of sentimental slides. The light accompaniments always support, with woodwinds prominent but used with grace. This CD, in short, is a beauty: a fine gift, a lovely mood setter. --Robert Levine

Customer Reviews:

Romance of the Violin.......2007-07-16

While it's not my very favorite Joshua Bell CD, this is a pleasure to listen to!

End of the Day.......2007-06-08

I am a Joshua Bell fan, and this album is the one that I enjoy with my dessert, it calms me at the end of the day, and makes me think of my 6 year old granddaughter's visit. She has to have music on during meals at her home. Usually it is some kid stuff, but I do not have anything like she has at home, so I chose to play Joshua Bell during our dinner. When I placed the dessert before her, she looked up at me and said: "This music is so beautiful, I want to play the violin just like that". What more could I say.
He is inspiring, and she is right. This album is beautiful.

Wonderful!.......2007-05-30

I play this for my grandson to nap by. It is so relaxing and wonderful!

Over and over and over...........2007-05-17

That's how I want to play this CD! It's a wonderful line-up of rich, mellow, captivating compositions played with a warmth and vibrancy that is seldom heard. Joshua at his very best. You won't be disappointed.

Non-standard CD format.......2007-04-22

The music on this CD deserves five stars, but the CD itself is a non-standard format that doesn't work on all players. There's a tiny warning on the back of the CD. You won't notice the warning until you discover that the CD doesn't work on your player. My Macintosh computer wouldn't read the non-standard format so there was no way for me to listen in my office or put the music on my iPod.

A friend's PC was able to read the CD and make a copy in standard format that can be read on any player, including my Mac. The story had a happy ending, but I can not comprehend why the publisher chose the oddball CD specification.

The music is excellent and worth the trouble of making a copy, but the publisher really shouldn't make you go to that effort just to listen to a CD that you paid for.

Average customer rating:

Highest Level of Artistry Displayed
"Behold the Tomb"
Well-sung Shakespearean travesty
beautiful and moving opera
Wonderful nostalgia

Bellini: I Capuleti e i Montecchi

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Rossini: L'Assedio di Corinto
Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
Massenet: Manon
Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel

ASIN: B0002XV2XO
Release Date: 2005-02-15

Tracks:

Sinfonia
Aggiorna Appena...
O Di Capellio, Generosi Amici
E Serbata A Questo Acciaro
Si: M'abbraccia
L'amo Tanto, E M'e Si Cara
Vanne Lorenzo
Lieto Del Dolce Incarno
Ascolta. Se Romeo T'uccise Un Figlio
Riedi Al Campo
La Tremenda Ultrice Spada
Eccomi In Lieta Vesta...
Oh! Quante Volte
Propizia E L'ora
Si, Fuggire: A Noi Non Resta
Odi Tu? L'altar Funesto
Vieni, Ah! Vieni

Tracks:

Lieta Notte, Avventurosa
Deh! Per Pieta, T'arresta
Tace Il Fragor
Che Miro?
Soccorso, Sostegno Accordagli
Accorriam...Romeo!
Ne Alcun Ritorna!
Morte Io Non Temo Il Sai
Prendi, Gl'istanti Volano
Deh! Padre Mio, Deh Padre Mio!
Deserto E Il Luogo
Chi Sei Tu?
Qua' Voci! Oh Dio!
Ella E Morta, O Sciagurato
Siam Giunti
Ecco La Tomba
Tu Sola, O Mia Giulietta
O Tu, Mia Sola Speme
Ah! Crudel! Che Mai Facesti?

Customer Reviews:

Highest Level of Artistry Displayed .......2007-02-13

This isn't the Shakespearean version, in case you get disappointed, but is based on an Italian source. In spite of the obvious fact the Sills and Gedda were already past their prime by the time of this recording, they still have plenty to give us, and their musical insight makes this recording better than other well-sung performances recorded in the studio. Baker is absolutely fantastic throughout and gave a very satisfying performance both musically and artistically.

Now coming to the comparison made by a reviewer between Bellini and Verdi. Well, even if Bellini had lived to 80, it would not be his aim to write like Verdi. Bellini stood alone amongst the great opera composers of Italy. Even his contemporaries recognized it and called his music 'filosofico'. Bellini's aim was not to create dramas with music like Donizetti or Verdi, but rather music drama - a fact which Wagner recognized. Only that Bellini's aim was to realize it via the voice (think Norma), while Wagner did it with the orchestra. It is note-worthy that Wagner spared Bellini the usual bashing he gave to the Italians. Not only that - he admitted to Cosima that the love duet from Capuleti was the source of his inspiration for his own in Tristan. In his old age, he was proud to say that he learned from 'these pages' what Messrs Brahms etc had failed to learn. One should approach a Bellini opera as one does a Chopin Ballade or Wagner's Tristan, not Verdi. That is not to say that Verdi is inferior, but just different.

And regarding Bellini's orchestration, Wagner and Bizet were on separate occasions, were tasked to 'improve' the orchestration of Norma. Both eventually gave up the job as impossible and concluded that the orchestration written by Bellini was the most suitable. Comparing the orchestration between the early Il Pirata (with its almost Wagnerian finale!) with Norma, it dawns upon one that the decision to thin out the orchestra by Bellini was deliberate, in line with his purpose of using the voice as the primary tool to express the drama.

"Behold the Tomb".......2006-09-30

I find it difficult to evaluate Bellini's work because it depends so heavily on performance. Never a connoiseur of performances, I leave it to others to tell one bel canto aria from another. It is discouraging to realize that Bellini, who died young, never took much interest in orchestral music, making him a lesser counterpart to Verdi, who combines the Italian devotion to the voice with powerful dramatic effects from the orchestra. Even the cover of the EMI CD is disappointing because it slaps a mod-erotic photograph on an opera where the lovers are too traumatised to make love. The libretto is so poor that the recording does not bother to supply it, confirming the view that Bellini's operas are for connoiseurs of vocal sound only.

I have downoaded the text from Karadar Classical Music as well as a synopsis from Opera japonica. We learn that the Capuleti and Montecchi are local versions of the Guelph and Ghilbelline parties respectively. The Ghibelline Dante would have been allied with the Montecchi, Romeo's party. Capellio, Juliet's father, seeks to avenge the death of a son at the hands of Romeo. Romeo's part is sung by a mezzo-soprano, adding further to the absurdity of the EMI cover photo. Although Romeo and Juliet are already lovers, she refuses to elope with him out of loyalty to her father. These lovers really seem more interested in dying than in making love. Juliet does manage to declare that she breathes easier when she learns that Romeo has survived a fight. We know that Romeo has reached his appointed place when he sings, "Ecco la tomba." Janet Baker, as Romeo, shines in the slow, heart-broken singing that follows, interspersed with sympathetic passages by the chorus of Montecchi. There is no doubt that Bellini's operas allow top performers to sing as beautifully as they can. The instrumental accompaniment in this concluding scene is reduced to a bare minimum.

Well-sung Shakespearean travesty.......2005-10-15

Source: Studio recording made at Abbey Road Studio, London, June 16-25, 1975.

Sound: Analog stereo. The engineering is competent, I suppose, but as a matter of personal taste I do not care for the distant and echo-y soundscape. It sounds as though the opera were taking place at the far end of a Gothic cathedral.

Documentation: No printed libretto, although there is a reference to an on-line libretto available at the EMI Classics website, (which failed to download in five tries over two days) just in case I want to listen to this opera while I am working at my computer. The accompanying essay by James Harding is the most useless I have ever found in a CD case--and that is by no means an easily earned distinction. Harding is vitally interested in Bellini's lame love life but indifferent to such trifles as the plot of the opera he is supposed to be writing about.

Format: Disk 1, Act I, Scenes 1 and 2; 60:42. Disk 2, Act I, Scene 3; Act II, Scenes 1-3; 74:23.

Bellini premiered "I Capuleti e i Montecchi" at Teatro La Fenice in Venice exactly one month before his twenty-ninth birthday. It was a success but it was not without critics. In his essay, Harding writes, "It was unfair of Berlioz to denounce I Capuleti e i Montecchi as a travesty of Shakespeare." Berlioz clearly had a point, for where the Bard had twenty characters, the librettist "Romani made do with only five. You will look in vain," Harding gushes on, "for the Nurse and Friar Laurence" and, I must add, for Mercutio, Benvolio and Paris, too. In the opera, Paris and Tybalt become a single character, Tebaldo, to the great detriment of the plot.

"I Capuleti e i Montecchi" came about midway in Bellini's too short career. The really big hits on which his fame rests were yet to come. The music is competent but somehow lacking that indefinable ping that makes "La Sonnambula," "Norma" and "I Puritani" extraordinary.

Overall, the performance is good. Best by far in the cast is Janet Baker. She does not generate overt excitement but she offers an overwhelming sense of rightness when she essays any part in the narrow range that she made her own. This recording is a little late for the best of Sills but she is still very bright and amazingly agile. As always, I feel that her voice is just a little too cool and too thin, but that is purely a matter of personal taste. It is also late for Nicolai Gedda, who sounds unexpectedly baritonal as Tebaldo, a part that any other 19th Century composer would surely have written for a baritone. (I know, I know, Gounod's Tybalt is a tenor. I sang the role, myself, back in college days. But Gounod's Tybalt is markedly different in character from Bellini's Tebaldo-Paris.) Gedda is very good, but I am not at all sure that I would have recognized him if his name had not been on the cover.

"I Capuleti e i Montecchi" is not a great opera, but three famous and very fine singers offer intelligent and entertaining performances. That's worth five stars as far as I'm concerned.

FOR THE HISTORICALLY MINDED: William Shakespeare wrote his "Romeo and Juliet" in the 1590s, in the early days of his career. As was usual for him, he based his play on older materials. The first literary mention of the Montagus and the Capulets is in Dante's "Purgatorio," vi, lines 106-108. The Montagus lived in Verona and the Capulets in Cremona. They were used by Dante as examples of warring factions that had been exterminated. About 1530, Luigi da Porto mistakenly assumed that the Montagus and the Capulets had both resided in Verona and had feuded with one another. He worked up a tale that involved two young members of his warring clans, Giulietta and Romeo. In 1554, Matteo Bandello published a novella called "Romeo e Giulietta" which proved to be an international hit. A French version was adapted from Bandello by Pierre Boaistuau in 1559. This, in turn, was translated into English in 1562 by Arthur Brooke as a "tragical history" in verse form called "Romeus and Juliet," later to be pounced on by Will Shakespeare in search of a popular hit. The only major changes that Shakespeare made in Brooke's plot were to compress the time frame and to introduce Tybalt into the story at an earlier point in order to build him up as a worthy adversary for Romeo. And, oh, yes, he created an array of living characters such as had never been conceived before.

A number of commentators have taken note of the much simplified plot of "I Capuleti e i Montecchi." They have accounted for it by declaring that Shakespeare's version was not yet well-known in the world, so Romani must have based his work on an earlier version of the story, by which I presume they mean by Bandello or even by da Porto. I don't buy that explanation. By 1830, the cult of Bardolatry was firmly established. The standard German translations (that the Germans to this day hold to be superior to the English originals) were well along. Two generations earlier, the tourist industry of Stratford Upon Avon had been given a kick start by the great actor, Garrick (in a bicentennial celebration conceived by David Garrick, written by David Garrick, produced by David Garrick, directed by David Garrick and starring David Garrick--additional dialogue by W. Shakespeare.) Just seventeen years later, Verdi would write his "Macbeth" and make sketches for a "King Lear," that greatest of all operatic might-have-beens. One of the twenty or so books that Verdi kept close to himself until the day he died was an Italian translation of the works of Shakespeare.

No, I do not think that Romani dealt with any obscure 16th Century originals. I think that he exercised a hack's privilege to pillage a respectable source for his convenience. Berlioz was correct. In both the literal and the figurative senses of the word, this is a travesty.

beautiful and moving opera .......2005-08-12

One may regret that Beverly Sills and Nicolai Gedda did not
record this opera earlier in their careers (1975) yet still
be glad they did. Though there are some audible signs of vo-
cal wear their artistry and commitment are never in doubt and
they offer memorable performances. Janet Baker is on the other
hand in splendid voice and sings superbly - she portrays a
somber Romeo and is supremely moving in the tomb scene.
Robert Lloyd and Raimund Herincx offer excellent support.
Very well recorded and beautifully conducted by Maestro
Patane - a very welcome release !

Wonderful nostalgia .......2005-05-20

Back in the 1970's I was a very intense fan of both La Sills and La Baker. The very idea of both of them coming together for an opera recording sent this rapid fan into a severe swoon! Therefore, this recording sent me into a state of ecstasy! I along with other Sills and Baker fans would gather around my stereo listening to this recording with Baker and Sills weaving their vocal magic which always elicited from us many tears and bravos.
At the time Beverly was a known commodity in Bell Canto operas; however, Janet was mainly known as a song recitalist. Nevertheless, Janet Baker, in this opera, proves that she could sing opera with the best of them showing her great operatic credentials-she is up to every vocal challenge Bellini throws at her. She tackles the role with great artistry and beauty of tone. Her last scene STILL dissolves me to copious tears.
In this recording Beverly sings a little cautiously not throwing out high E's with abandon as before; however, her years of experience being a sublime singer of Bell Canto operas comes through. Her singing is gorgeous, sweet and touching to the highest degree, I truly believe that this recording was one of her best.
It truly is great to hear this recording again-ah the memories. Time has NOT diminished its appeal!

An English Ladymass: Medieval Chant and Polyphony

Average customer rating:

An English Ladymass: Medieval Chant and Polyphony
The Secret of Success
Other worldly bliss
Angelic Purity
Stunning and uplifting

An English Ladymass: Medieval Chant and Polyphony
Anonymous , Marsha Genensky , and Anonymous 4
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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1000: A Mass for the End of Time / Anonymous 4
On Yoolis Night: Medieval Carols & Motets - Anonymous 4
The Lily and the Lamb: Chant and Polyphony from Medieval England
The Origin of Fire: Music and Visions of Hildegard von Bingen
La Bele Marie: Songs to the Virgin from 13th-Century France

ASIN: B0000007DL
Release Date: 1993-03-08

Tracks:

An English Ladymass: Prosa: Gaude virgo salutata (chant)
An English Ladymass: Polyphonic song: Edi beo thu hevene quene
An English Ladymass: Introit: Salve mater redemptoris Salve lux langentium Salve sine spina Salve sancta parens
An English Ladymass: Motet: Lux polis refulgens Lux et gloria
An English Ladymass: Kyrie: Kyria christifera
An English Ladymass: Gloria
An English Ladymass: Motet: Spiritus et alme Gaude virgo salutata
An English Ladymass: Song: Miro genere
An English Ladymass: Gradual: Benedicta et venerabilis
An English Ladymass: Alleluia: Alme iam ad gaudia - Alme matris dei - Alleluya per te dei
An English Ladymass: Sequence: Missus Gabriel del celis
An English Ladymass: Prosa: Gaude virgo gratiosa (chant)
An English Ladymass: Polyphonic song: Salve virgo virginum
An English Ladymass: Offertory: Felix namque (chant)
An English Ladymass: Sanctus & Benedictus
An English Ladymass: Sequence - Song: Jesu Cristes milde moder
An English Ladymass: Agnus dei: Virtute numinis
An English Ladymass: Communion: Beata viscera (chant & song)
An English Ladymass: Rondellus: Flos regalis
An English Ladymass: Chant Setting: Ite missa est
An English Ladymass: Hymn: Ave maris stella

Amazon.com essential recording

In the six years since this female quartet astonished the music world with its clear- voiced, impeccably sung renditions of medieval chant and polyphonic music, chant rose from the dark and dusty corners of classical music to enjoy a phenomenal run at center stage. New and reissued chant recordings achieved sales figures normally reserved for popular music. This is the recording that started it all (that Spanish monks disc came later), winning awards and earning near- permanent resident status on the national charts. Spiritually moving and vocally revelatory, this program re-creates a kind of mass sung in English churches during the 13th and 14th centuries. With their warm tone and perfect intonation, these four singers achieve an expressiveness that is rare among chant interpreters, most effective in the seductive, highly ornamented "Kyrie." The sound is exemplary--although a studio recording, it perfectly conveys the atmosphere of an English cathedral. --David Vernier

Customer Reviews:

An English Ladymass: Medieval Chant and Polyphony.......2007-06-14

Beautiful and lyrical and very satisfying to listen to while working or mediating. It's everything I hoped it would be!!

The Secret of Success.......2006-04-26

An English Ladymass. 13th and 14th Century Chant and Polyphony in Honor of the Virgin Mary. Performed by Anonymous 4 (Ruth Cunningham, Martha Genensky, Susan Hellauer and Johanna Rose).
Recorded in October, 1991, at Skywalker Sound, Nicasio, California.
Harmonia Mundi HMU 907080. Total time: 59’01”.

Musically, this is one of those rare, very special discs that not only sells well and then disappears into oblivion but that sells well and then stays relevant for many, many years. While re-listening to it, I asked myself again and again what the secret of its success was. A number of answers suggested themselves, none of them completely satisfactory, but all together providing something of a key. First, of course, there are the pure, vibrato-less soprano voices, combining in what some reviewers have, quite correctly I feel, termed “angelic” harmony. The booklet, unfortunately, does not give much information about the performers, but I seemed to hear here one very high soprano voice, what in English Renaissance music would be called a “mean”, plus two “normal” sopranos and an alto. The excitement of the high “mean” soprano and the narrow harmonies of the other voices can truly send shivers of delight down your spine. This is an effect that one usually only hears on discs of choral music (for example, on some of Harry Christophers’s recordings of the masses of John Taverner for Hyperion), and it is guaranteed to uplift the soul and impress with the beauty of the human voice. But added to this here are the medieval melodies, which, although often very strange to our ears, seem to reflect our common past and appear, in a certain way, to be familiar, perhaps as an echo of the joint human memory of those centuries of sacred music – or perhaps just as an individual memory of liturgical song heard in childhood. And of course, the music itself has an intensely “spiritual” flavour, with the excellent recording technique, the absolute stillness of the background and the ensemble’s decision to do without any instrumental accompaniment amounting to an invitation to meditation and devotion.

Perhaps it is indicative, however, of our post-modern age that none of my fellow Amazon reviewers appears to have reflected on the texts which Anonymous 4 have here put together (the result of painstaking musicological research, I should add). Despite all my enthusiasm for the sound and the music of this disc, I have to add that as an evangelical Christian (and as a child of the Enlightenment) I find the unabashed, sensuous Mariolatry of these medieval texts to be profoundly disturbing and, from a Protestant standpoint, utterly heretical. You don’t have to be a Catholic to enjoy the wonderful singing on this disc, but if you study the texts (which are printed in full with translations), you may, like me, become very grateful for what Martin Luther, John Calvin and their followers did for the Church.

As a footnote I should, perhaps, add that if you have enjoyed Anonymous 4's music-making, you might also like to try that of the Italian female ensemble La Reverdie, whose discs for the French label Arcana, although very different, also have some of the qualities that made Anonymous 4 so successful.

Other worldly bliss.......2006-03-25

The American Angels fly again from their permanent perch in heaven, inviting us all to accept this bliss. And they did this

recording many years ago. Timeless perfection and beauty.

Kim Thomas Hartman

Angelic Purity.......2006-01-20

It seems pointless to add another 5-star review to the list, but I have to. This CD is simply one of the most beautiful recordings ever made, and it touches your soul with every listening. If you are content, it will bolster and reinforce your tranquil mind. If you are sad or depressed, it will force tears from your eyes and rip sobs from your breast, setting you on the healing path. If you are happy, it will make you prance about your flat like a gleeful child.
It is wonderful as background music, and yet engaging enough for attentive listening. If you don't own this CD, you should buy it today.

Stunning and uplifting.......2005-10-11

The Ladymass is a special votive mass dedicated to the Blessed Virgin Mary - most major cathedrals would have a daily mass in the Lady chapel (a smaller worship space within the cathedral), and some churches would have special masses in honour of the Virgin on Saturdays. According to Hellauer, 'Of the English polyphony preserved from this time, almost all of which is sacred, roughly two-thirds is in honour of the Virgin.' The work here does not occur in one set piece as it might have back in the medieval times, for no complete records of this sort have survived. The Anonymous 4 have pieced together elements including chants, motets, and other mass elements to complete the task.

The voices of the Anonymous 4 are markedly different from men-and-boys choirs or monks that are typically the recording artists of this kind of music. It is often forgotten that such music was sung by women and monastic communities of nuns in the medieval time, too. One critic remarked, 'There is a captivating simplicity and directness about their performance, which naturally avoids many of the pitfalls of an overstretched attempt at reconstruction.' This is certainly true in this recording, which is wonderful in tone.

There is a spirit to the music. It is remarkable that a group with three sopranos and an alto could give such breadth and depth to the music, but it certainly is true of their performances. This particular recording is the first of theirs done for Harmonia Mundi.

-- Liner Notes --
This text accompaniment to this disc is very full, so much so that the booklet is not contained within the jewel case, but rather within a slipcover in which both the CD/jewel case and the booklet reside. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in Latin and in translation - all repeated in English, German, and French sections.

-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.

Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'

The group ended a touring career of nearly two decades in 2004.

Romance Of The Violin (Live From New York In Concert)

Average customer rating:

Excellent performances, both audio and video
Great music, lousy format!

Romance Of The Violin (Live From New York In Concert)
Joshua Bell
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Voice of the Violin
The Essential Joshua Bell
Joshua Bell - Gershwin Fantasy
Tchaikovsky: Violin Concerto [Hybrid SACD]
Ladies in Lavender

ASIN: B00076ZZB6
Release Date: 2005-02-08

Tracks:

O mio babbino caro from Gianni Schicchi
The Girl With Flaxen Hair
Nocturne
The Swan
Serenade
Casta Diva from Norma
Andante from Piano Concerto No. 21 in C Major K. 467
Dance of the Blessed Spirits from Orfeo ed Euridice
Nocturne from String Quartet No. 2 in D Major
Songs My Mother Taught Me
Pur ti Miro from 'L'incoronazione di Poppea
Elegie: O doux printemps d'autrefois
Trerei

Album Description

CD AUDIO SIDE: Entire Album

DVD SIDE: * Entire album in Enhanced LPCM Stereo * Video of highlights from Joshua Bell Romance of the Violin Live from Lincoln Center with the Orpheus Chamber Orchestra * Complete Discography This disc is intended to play on standard DVD and CD players. May not play on a limited number of models.

Customer Reviews:

Excellent performances, both audio and video.......2007-01-09

I was delighted with this Dual Disc. Performances are excellent, both audio and video. Recording quality is very good.

I must report some problems with CD side (cracks) on older CD player.

Great music, lousy format!.......2007-01-03

I love the music, but was VERY unhappy to be unable to play this CD on my computer. The DVD side works okay, but I can't load this to itunes on my macintosh. And I can't load the DVD to my computer and store this disk at home. If I had it to do over, I'd buy the plain vanilla CD!

Shining Light, Music from Aquitanian Monasteries

Average customer rating:

Relaxing Alternative Music for the Winter Season
Incidental liturgical music. Great listening.
Sounds as pure as water

Shining Light, Music from Aquitanian Monasteries

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Aquitania
Chant Wars
Hildegard von Bingen: Canticles of Ecstasy
Polyphonic Aquitaine of th 12th Century
Lost Songs of a Rhineland Harper [Hybrid SACD]

ASIN: B000001TZG
Release Date: 1996-10-29

Tracks:

Lux refulget
Verbum patris humanatur o o
Ora pro nobis beate Nicolae
Cantu miro summa laude
Instrumental piece
Veri solis radius
Divinum stillant
Instrumental piece
Orienti Oriens
Per parfum virginis
Congaudet hodie
Virga Jesse floruit
Senescente mundano filio
Radix Iesse castitatis lilium
Omnis curet homo
Benedicamus domino: Stirps Iesse florigeram
Resonemus hoc natali
Resonemus hoc natali (II)
Ad infantum triumphantum
Instrumental piece

Customer Reviews:

Relaxing Alternative Music for the Winter Season.......2007-01-10

"Shining Light" will lift your spirits during the gloomy winter months, and is a great alternative to over-played commercialized Christmas music. This is a wonderful collection of ancient music that provides a soothing and meditative experience.

Incidental liturgical music. Great listening........2005-12-16

'shining light' performed by Sequentia, the Ensemble for medieval music, is an excellent collection, running for over 70 minutes, of fragments of instrumental music and vocal music in Latin from monasteries in and around the southwestern French city of Limoges.

While this may not rate five stars as an academic piece, it is certainly worth the ranking as music easy on the ears, combining instrumental, male, and female choral music.

I wlll let the scholars fight it out. I simply find it an excellent collection of early music performances.

Sounds as pure as water.......2001-01-04

This disc is so beautiful, so full majesty and spirituality. It can quiet the stress and bring sweet comfort. The Sequentia singers so clean-sounding. Their voices have never sounded so pure, like the running of the streams. The chasms of the earth and the sea would be moved to the sounds.

Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin

Average customer rating:

Essential for the chansom junkie. Buy It.
Almost completely wonderful
Indisputable Gallic flair
Idiomatic, fresh, cleanly recorded
the best songs ever ruined by uneven performing

Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin
Francis Poulenc , Dalton Baldwin , Elly Ameling , Gérard Souzay , Nicolai Gedda , Michel Sénéchal , and William Parker
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Debussy - Mélodies / Ameling · Mesplé · Command · Souzay · von Stade · Baldwin
Fauré - Mélodies / Souzay · Ameling · Baldwin
A French Song Companion
The Songs of Henri Duparc
Véronique Gens - Nuit d'étoiles (Mélodies Française) / Vignoles

ASIN: B000002S31
Release Date: 1992-01-23

Tracks:

LE BESTIAIRE OU CORTEGE D'ORPHEE: I - Le Dromadaire
LE BESTIAIRE OU CORTEGE D'ORPHEE: II - La Chevre Du Tibet
LE BESTIAIRE OU CORTEGE D'ORPHEE: III - La Sauterelle
LE BESTIAIRE OU CORTEGE D'ORPHEE: IV - Le Dauphin
LE BESTIAIRE OU CORTEGE D'ORPHEE: V - L'ecrevisse
LE BESTIAIRE OU CORTEGE D'ORPHEE: VI - La Carpe
COCARDES: I - Miel De Narbonne
COCARDES: II - Bonne D'enfant
COCARDES: III - Enfant De Troupe
5 POEMES DE RONSARD: I - Attributs
5 POEMES DE RONSARD: II - Le Tombeau
5 POEMES DE RONSARD: III - Ballet
5 POEMES DE RONSARD: IV - Je N'ai Plus Les Os
5 POEMES DE RONSARD: V - A Son Page
CHANSONS GAILLARDES: I - La Maitresse Volage
CHANSONS GAILLARDES: II - Chanson A Boire
CHANSONS GAILLARDES: III - Madrigal
CHANSONS GAILLARDES: IV - Invocation Aux Parques
CHANSONS GAILLARDES: V - Couplets Bachiques
CHANSONS GAILLARDES: VI - L'offrande
CHANSONS GAILLARDES: VII - La Belle Jeunesse
CHANSONS GAILLARDES: VIII - Serenade
AIRS CHANTES: I - Air Romantique
AIRS CHANTES: II - Air Champetre
AIRS CHANTES: III - Air Grave
AIRS CHANTES: IV - Air Vif
Epitaphe
3 POEMES DE LOUISE LALANNE: I - Le Present
3 POEMES DE LOUISE LALANNE: II - Chanson
3 POEMES DE LOUISE LALANNE: III - Hier
4 POEMES DE GUILLAUME APOLLINAIRE: I - L'anguille
4 POEMES DE GUILLAUME APOLLINAIRE: II - Carte Postale
4 POEMES DE GUILLAUME APOLLINAIRE: III - Avant Le Cinema
4 POEMES DE GUILLAUME APOLLINAIRE: IV - 1904
5 POEMES DE MAX JACOB: I - Chanson Bretonne
5 POEMES DE MAX JACOB: II - Cimetiere
5 POEMES DE MAX JACOB: III - La Petite Servante
5 POEMES DE MAX JACOB: IV - Berceuse
5 POEMES DE MAX JACOB: V - Souric Et Mouric
8 CHANSONS POLONAISES: I - La Couronne
8 CHANSONS POLONAISES: II - Le Depart
8 CHANSONS POLONAISES: III - Les Gars Polonais
8 CHANSONS POLONAISES: IV - Le Dernier Mazour
8 CHANSONS POLONAISES: V - L'adieu
8 CHANSONS POLONAISES: VI - Le Drapeau Blanc
8 CHANSONS POLONAISES: VII - La Vistule
8 CHANSONS POLONAISES: VIII - Le Lac

Tracks:

5 POEMES DE PAUL ELUARD: I - Peut - Il Se Reposer?
5 POEMES DE PAUL ELUARD: II - Il La Prend Dans Ses Bras
5 POEMES DE PAUL ELUARD: III - Plume D'eau Claire
5 POEMES DE PAUL ELUARD: IV - Rodeuse Au Front De Verre
5 POEMES DE PAUL ELUARD: V - Amoureuses
A Sa Guitare
TEL JOUR, TELLE NUIT: I - Bonne Journee
TEL JOUR, TELLE NUIT: II - Une Ruine Coquille Vide
TEL JOUR, TELLE NUIT: III - Le Front Comme Un Drapeau Perdu
TEL JOUR, TELLE NUIT: IV - Une Roulotte Couverte En Tuiles
TEL JOUR, TELLE NUIT: V - A Toutes Brides
TEL JOUR, TELLE NUIT: VI - Une Herbe Pauvre
TEL JOUR, TELLE NUIT: VII - Je N'ai Envie Que De T'aimer
TEL JOUR, TELLE NUIT: VIII - Figure De Force Brulante Et Farouche
TEL JOUR, TELLE NUIT: IX - Nous Avons Fait La Nuit
3 POEMES DE LOUISE DE VILMORIN: I - Le Garcon De Liege
3 POEMES DE LOUISE DE VILMORIN: II - Au-Dela
3 POEMES DE LOUISE DE VILMORIN: III - Aux Officiers De La Garde Blanche
2 POEMES DE GUILLAUME APOLLINAIRE: I - Dans Le Jardin D'anna
2 POEMES DE GUILLAUME APOLLINAIRE: II - Allons Plus Vite
MIROIRS BRULANTS: I - Tu Vois Le Feu Du Soir
MIROIRS BRULANTS: II - Je Nommerai Ton Front
Le Portrait
La Grenouillere
Priez Pour Paix
Ce Doux Petit Visage
Bleuet
FIANCAILLES POUR RIRE: I - La Dame D'andre
FIANCAILLES POUR RIRE: II - Dans L'herbe
FIANCAILLES POUR RIRE: III - Il Vole
FIANCAILLES POUR RIRE: IV - Mon Cadavre Est Doux Comme Un Gant
FIANCAILLES POUR RIRE: V - Violon
FIANCAILLES POUR RIRE: VI - Fleurs

Tracks:

BANALITES: I - Chanson D'orkenise
BANALITES: II - Hotel
BANALITES: III - Fagnes De Wallonie
BANALITES: IV - Voyage A Paris
BANALITES: V - Sanglots
CHANSONS VILLAGEOISES: I - Chanson Du Clair Tamis
CHANSONS VILLAGEOISES: II - Les Gars Qui Vont A La Fete
CHANSONS VILLAGEOISES: III - C'est Le Joli Printemps
CHANSONS VILLAGEOISES: IV - Le Mendiant
CHANSONS VILLAGEOISES: V - Chanson De La Fille Frivole
CHANSONS VILLAGEOISES: VI - Le Retour Du Sergent
METAMORPHOSES: I - Reine Des Mouettes
METAMORPHOSES: II - C'est Ainsi Que Tu Es
METAMORPHOSES: III - Paganini
2 POEMES DE LOUIS ARAGON: I - C
2 POEMES DE LOUIS ARAGON: II - Fetes Galantes
2 POEMES DE GUILLAUME APOLLINAIRE: I - Montparnasse
2 POEMES DE GUILLAUME APOLLINAIRE: II - Hyde Park
2 POEMES DE GUILLAUME APOLLINAIRE: I - Le Pont
2 POEMES DE GUILLAUME APOLLINAIRE: II - Un Poeme
Paul Et Virginie
Mais Mourir
Hymne
3 CHANSONS DE FEDERICO GARCIA LORCA: I - L'enfant Muet
3 CHANSONS DE FEDERICO GARCIA LORCA: II - Adelina A La Promenade
3 CHANSONS DE FEDERICO GARCIA LORCA: III - Chanson A L'oranger Sec
Le Disparu
Main Dominee Par Le Coeur
CALLIGRAMMES: I - L'espionne
CALLIGRAMMES: II - Mutation
CALLIGRAMMES: III - Vers Le Sud
CALLIGRAMMES: IV - Il Pleut
CALLIGRAMMES: V - La Grace Exilee
CALLIGRAMMES: VI - Aussi Bien Que Les Cigales
CALLIGRAMMES: VII - Voyage

Tracks:

Mazurka
LA FRAICHEUR ET LE FEU: I - Rayon Des Yeux...
LA FRAICHEUR ET LE FEU: II - Le Matin Les Branches Attisent...
LA FRAICHEUR ET LE FEU: III - Tout Disparut...
LA FRAICHEUR ET LE FEU: IV - Dans Les Tenebres Du Jardin...
LA FRAICHEUR ET LE FEU: V - Unis La Fraicheur Et Le Feu...
LA FRAICHEUR ET LE FEU: VI - Homme Au Sourire Tendre...
LA FRAICHEUR ET LE FEU: VII - La Grande Riviere Qui VA...
PARISIANA: Le Joueur De Bugle
PARISIANA: Vous N'ecrivez Plus?
Rosemonde
LE TRAVAIL DU PEINTRE: I - Pablo Picasso
LE TRAVAIL DU PEINTRE: II - Marc Chagall
LE TRAVAIL DU PEINTRE: III - Georges Braque
LE TRAVAIL DU PEINTRE: IV - Juan Gris
LE TRAVAIL DU PEINTRE: V - Paul Klee
LE TRAVAIL DU PEINTRE: VI - Joan Miro
LE TRAVAIL DU PEINTRE: VII - Jacques Villon
La Souris
Nuage
Dernier Poeme
Une Chanson De Porcelaine
LA COURTE PAILLE: I - Le Sommeil
LA COURTE PAILLE: II - Quelle Aventure!
LA COURTE PAILLE: III - La Reine De Coeur
LA COURTE PAILLE: IV - Ba, Be, Bi, Bo, Bu
LA COURTE PAILLE: V - Les Anges Musiciens
LA COURTE PAILLE: VI - Le Carafon
LA COURTE PAILLE: VII - Lune D'avril
Toreador
4 CHANSONS POUR ENFANTS: I - La Tragique Histoire Du Petit Rene
4 CHANSONS POUR ENFANTS: II - Nous Voulons Une Petite Soeur
4 CHANSONS POUR ENFANTS: III - Le Petit Garcon Trop Bien Portant
4 CHANSONS POUR ENFANTS: IV - Monsieur Sans-Souci
Fancy
Colloque

Customer Reviews:

Essential for the chansom junkie. Buy It........2006-10-25

'Poulenc Melodies' performed by a really impressive lineup of vocal talent including Elly Ameling and Nicolai Gedda is exactly the kind of recording you need if you are compulsive about having 'complete' collections of things. This shows a range of composition which smaller releases such as single CD 'Voyage a Paris' (Hyperion, with Felicity Lott and Graham Johnson)can give us. For starters, many of these chansom showed a lot more evidence of more modern stylings and a far greater range of interpretation. In fact, I even had to check the lyrics in the included booklet to verify that on some songs, the performers were singing in French. Even though I have a smattering of knowledge of French, I would have sworn that the singers were performing songs in Russian.

I am happy that all four discs run for more than 60 minutes. No cheap short changing here. If you don't want to spring for the large set, the Hyperion release is great, but this is worth every penny.

Almost completely wonderful.......2005-04-29

Its very considerable advantage lies in its completeness. Poulenc was one of the very greatest songwriters of any era. If you have no Poulenc songs in your collection, start here. The recommendation of Kruysen is a fine one, but only after you have heard this as a basis of comparison. Of Ameling, Senechal, Souzay, Gedda, and Parker, the only disappointment is Parker, who - I'll just say it - sings with his usual bleat. Souzay is a shade past it in vocal quality, but he still understands these songs as well as anybody, with great declamation (and that, after all, is what most of French singing is about). The dryness of the voice is nowhere close to disastrous, as it might have been in Italian opera. Indeed, it lends an air of life lived, without excuses. Gedda is okay. The standouts are Souzay, Ameling, and Senechal. Baldwin accompanies superbly.

Indisputable Gallic flair.......2004-06-06

These performances are piquant and stylistically right on target. Even if Souzay is past his best here, he brings a lifetime of experience to bear and the other performers are wonderful. Ignore the curmudgeon who blasted this set. You will enjoy this tremendously if you love Poulenc.

Idiomatic, fresh, cleanly recorded.......2001-05-12

This is a fine set. Dalton Baldwin accompanies each singer with clarity and zest. And who can resist the affectionate singing of the likes of Nicolai Gedda and Elly Ameling? The "melodies" themselves are magnificent--among Poulenc's finest creations. Whether you have other performances of these works or not, I think you'd be pleased with this beautifully recorded set. Certainly the 70's-vintage performances are more individual in profile, more "romantic," if you will, than those conjured by most of the "anonymous" singers of our own age. Recommended with enthusiasm.

the best songs ever ruined by uneven performing.......2001-05-05

This is a warning for all Poulenc fans NOT to take the bargain route and purchase this immense collection -- you might think you're getting a great deal but: the singing and pianism is substandard and doesn't do the music justice (remotely). Songs like Bonne Journe'e or Ho^tel are all but ruined... Here's what to buy: Bernard Kruysen's CD of selected Poulenc masterpieces (favoring the Elouard settings)... nobody will ever come close to Kruysen in interpreting Poulenc. Avoid THIS CD. They still get 2 stars for (1) being encyclical and (2) delivering clear and even sound quality.

Average customer rating:

A stunning recording
Fresh, luminous and touching!
A very musical and lively recording.

Monteverdi: Quarto Libro dei Madrigali
Sandro Naglia , Marcello Vargetto , Bianca Simone , and Rinaldo Alessandrini
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Monteverdi: Quinto Libro de Madrigali (Fifth Book of Madrigals)
Monteverdi: Secondo Libro de' Madrigali (Second Book of Madrigals) /Concerto Italiano * Alessandrini
Monteverdi: Ottavo Libro de' Madrigali, Vol.1
Monteverdi: Il Sesto Libro de Madrigali
Monteverdi: Madrigals Book 3

ASIN: B000027MVE
Release Date: 1993-12-03

Tracks:

Ah Dolente Partita
Cor Mio, Mentre Vi Miro
Cor Mio, Non Mori? E Mori!
Sfogava Con Le Stelle
Volgea L'anima Mia Soavemente
Anima Mia Perdona [Prima Parte]
Che Se Tu Se'Il Cor Mio [Seconda Parte]
Luci Serene E Chiare
La Piaga C'ho Nel Core
Voi Pur Da Me Partite, Anima Dura
A Un Giro Sol De' Begl'occhi Lucenti
Ohime, Se Tanto Amate
Io Mi Son Giovinetta
Quel Augellin Che Canta
Non Piu Guerra Pietate
Si Ch'io Vorrei Morire
Anima Dolorosa Che Vivendo
Anima Del Cor Mio
Longe Da Te Cor Mio
Piagn' E Sospira

Amazon.com

Monteverdi's Fourth Book of Madrigals for five voices was a real ground-breaking work: the composer tossed aside the rules of classical counterpoint and harmony, making the music subservient to the text it delivered--creating extraordinary pictorial and emotive effects that are surprising even today. Here's just one example: in "Si, ch'io vorrei morire," the voices enter successively on the line "Ahi, car'e dolce lingua" ("Ah, dear sweet tongue"), each voice extending its phrase while the next two voices above enter in their turn, the lines caressing and colliding with each other like the tongues of kissing lovers, the dissonant suspensions like frissons of passion. Concerto Italiano's performance is a revelation: each quicksilver change in tempo or volume is beautifully judged, yet sounds completely spontaneous and natural. --Matthew Westphal

Customer Reviews:

A stunning recording.......2005-07-04

If I had to single out one recording of madrigals to recommend this might quite possibly be it. The performances by Alessandrini and Concerto Italiano are everything the critics have been raving about for a number of years now. They really do take the cake when it comes to being the outstanding madrigal performers of our times - although we now have La Venexiana, who can be put on the same level. The singing here represents a degree of refinement in expressive eloquence that is previously unheard of in this repertoire. This makes this CD gripping listening from start to finish even though all works are sung a capella.

The recording is also well up to the usual high standards of Opus 111.

Fresh, luminous and touching!.......2005-06-14

The best book of Monteverdi sung the very best by the best singers.
This crew - which main members now sing in La Venexiana - must have some strange affinity to Monteverdi! It never sounds 'old' or 'ancient'; you feel rather that Monteverdi is some modern composer, or you feel how young his inventive style must have been felt by his contemporaries. Concerto Italiano - i.e. until the mid 90ies - had some kind of 'analytical' approach, slow, high definition, sophisticated, clear, fresh, young, shining - like the first spring! This luxury production never feels cold or boring, from the first madrigals, 'Ah dolente partita', 'Cor mio' and so on, it is very, very touching. A more happy madrigal like 'A un giro sol de' bell'occhi lucenti' is really a wonder. Rossana Bertini's shrill soprano is specially striking. Highly recommended! I also recommend The second book - Amazon: B0000260SF - by the same group and The third book - Amazon: B00006B1R7- by La Veneziana; almost the same crew and surely the same style.

A very musical and lively recording........1998-12-16

Concerto Italiano gives a refreshing interpretation of Monteverdi's madrigals. Apart from being a well and musically sung recording, it is the expression of the lyrics which makes this CD unique. From listening it is clear that the madrigals were meant to be sung this way: One hears the birds, the wind, the sea and, of course, many lamenting lovers. (Be sure to keep the booklet handy when listening !)

Customer Reviews:

beautiful perfomances of exsquisite madrigals.......2005-10-01

The first 3 books of Gesualdo's madrigals don't have the startling chromaticism and the violent rhythmic contrasts of the 5th and 6th books, but they're rich pieces nonetheless and here and there are hints of the over the top imagination of the later works. These performances are characterized by accurate intonation and lovely timbre. This is one of my favorite recordings of Italian madrigals.

Average customer rating:

"The Delights of Music"

Madrigals Book I
Monteverdi , Longhini , and Delitae Musicae
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Monteverdi: Madrigals Book 3
Monteverdi: Madrigals Book 2
Claudio Monteverdi: Madrigals Book 4
Monteverdi: Madrigals, Book 5
Monteverdi: Quinto Libro de Madrigali (Fifth Book of Madrigals)

ASIN: B00006L3VO
Release Date: 2003-02-18

Tracks:

Ch'io Ami La Mia Vita Mia Nel Tuo Bel Nome
Se Per Averi, Ohime, Donato Il Core
A Che Tormi Il Ben Mio
Amor, Per Tua Merce Vattne A Quella
Baci Soavi E Cari
Se Pur Non Mi Consenti
Filli Cara Ed Amata
Poiche Del Mio Dolore
Fumia La Pastorella - Prima Parte
Almo Divino Raggio - Seconda Parte
Allora I Pastor Tutti - Terza Parte
Se Nel Partir Da Voi
Tra Mille Fiamme E Tra Mille Catene
Usicam, Ninfe, Omai Fuor Di Questi Boschi
Questa Ordi Il Laccio
La Vaga Pastorella
Amor S'il Tuo Ferire
Donna S'io Miro Voi, Giaccio Divengo
Ardo, Si, Ma Non T'amo
Ardi O Gela A Tua Voglia - Risposta
Arsi Ed Alsi A Mia Voglia - Contra Risposta
Voglio Di Vita Uscir
Fuggi Cor
Ahi, Che Si Part'il Mio Sol
Se D'un Angels' Il Bel Viso
Lamento D'Olimpia

Customer Reviews:

"The Delights of Music".......2003-03-19

I don't pretend to be an expert on the Monteverdian madrigal. But I know good singing when I hear it, and there's plenty of that on this disc. Marco Longhini conducts a group of Italian singers and instrumentalists collectively called 'Deliciae Musicae' and they couldn't have a more apt name--their delight (and ours) in their performance of this music is evident from start to finish.

Monteverdi's First Book of Madrigals, primarily for five voices a cappella or lightly accompanied, was published when he was only nineteen in 1587. The texts are secular and mostly of the 'to die upon a kiss' genre. There are some humorous examples in addition to the earnest swooning and pining sort. And towards the end of the Book there is a triptych, the second and third of which are parodies of the first - rather clever, too. All of these madrigals are set to meltingly beautiful polyphonic music of the late Renaissance/early Baroque. It was later that Monteverdi took music in an entirely new direction.

Which brings us to the remainder of the disc: a collection of Monteverdi's madrigals that were not published in his lifetime, some of them much later than Book I. One of them, once thought apocryphal but later acknowledged to be by Monteverdi, is the extended 'Lamento di Olimpia', similar to the much better-known 'Lamento d'Arianna,' and comes from Ariosto's 'Orlando Furioso.' It tells of the betrayal and abandonment of a Dutch noblewoman by her lover. One can hear in this masterpiece the same kind of drama one finds in Monteverdi's better known operas.

The musicianship, production, notes are all exemplary. A hearty recommendation, particularly at this budget price.

Invitation to the Dance
Average customer rating:
Invitation to the Dance

ProductGroup: Music
Binding: Audio CD

Classical | Indie Music | Stores | Music
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ASIN: B00005U19X
Release Date: 2001-11-15

Tracks:

Pli
Facing the barre: Turn In & Out/Tendus
Temps Li
Flex and Point
Tendus in 3/4
Demi-Tendus
Tendus in 2/4, slower
Tendus in 2/4, faster
Fast Tendus
Envelopp
Jet
Ronds de Jambe erre
Fondus
Dlopp
Battements en Cloche
Frapp
Ronds de Jambe en lAir
Stretches
Grands Battements
Center Tendus
Adagio
Pirouettes 1
Pirouettes 2
Pirouettes 3
Changements
Petit Allegro 1
Petit Allegro 2
Grand Allegro
Coda
Entrechats, faster
Entrechats, slower

Album Description

Wilhelm Burmann, one of the most sought-after teachers in the ballet world who has taught companies like New York City Ballet and the Paris Opera Ballet, is presenting an exquisite selection of piano music for your class. 31 tracks for barre and center, designed to entice your students to dance musically and with attention to rhythm and phrasing. Over 75 minutes of wonderfully energetic music played by Miro Magloire. With repeated exercises at the barre and long tracks in the center. Discover the music preferred by some of today's greatest dancers!

Music Info:

Music Info

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