At Dusk & Forever [Import]

At Dusk & Forever [Import]

Track Listings

1. Wounds

2. Nightfall

3. At Dusk & Forever

4. Battles To Come

5. Burning Sky

6. Never Alone Again

7. Always

8. Forever Beach

9. Red Hot

Editorial Reviews
Product Description
Japanese Version featuring a Bonus Track: Red Hot.

Tracks:

The Opera House
Frosted Ambassador
Jumping Fences
Define A Transparent Dream
No Growing (Exegesis)
Holiday Surprise 1,2,3
Courtyard
Memories Of Jacqueline 1906
Tropical Bells
Can You Come Down With Us?
Marking Time
Green Typewriters
Green Typewriters
Green Typewriters
Green Typewriters
Green Typewriters
Green Typewriters
Green Typewriters
Green Typewriters
Green Typewriters
Green Typewriters
Spring Succeeds
Theme For A Very Delicious Grand Piano
I Can Smell The Leaves
Dusk At Cubist Castle
The Gravity Car
NYC-25

Customer Reviews:

Kaleidoscopic collage of sweet pop and soundscapes........2006-02-23

Music from the Unrealised Film Script: Dusk at Cubist Castle, is a strange and disorientating album that is pitched halfway between 60's influenced neo-prog-psychedelia, and the more recognisable sound of mid-90's indie. It's certainly the most adventurous album released by any of the various Elephant 6 Collective offshoots, with The Olivia Tremor Control writing and recording 'Dusk...' over a period of three years, with a rolling line up of collaborators including Eric Harris, John Fernandes, Steve Jacobek, Nick Benjamin and Julian Koster, as well Neutral Milk Hotel leader Jeff Mangum on piano, slide-guitar and backing vocals, and the Apples in Stereo's Robert Schneider, who adds bass, melodica, backing vocals, as well as acting as the engineer and co-producer of the album as a whole. The nucleus of the band was Will Cullen Heart and Bill Doss, who here write, perform and produce the majority of the album, as well as adding the bizarre sketches and collages that make up the album's art work.

The album is a fantastic and endlessly fascinating combination of different styles, tempos, ideas and atmospherics, with the band taking on elements of early Pink Floyd, the Beach Boys and The Beatles to form the core backing of 60's trip-pop, alongside lingering traces of folk, krautrock, avant-garde expressionism, ambient noise, field recordings and the early hallmarks of a sound that would later become known as post-rock. As a result, every stylistic diversion seems perfectly judged, with the album creating that dreamy quality where songs distort and metamorphose into completely different songs, whilst repeated exposure eventually gives way to all manner of hidden sounds, voices, noises and motifs. Along with Neutral Milk Hotel's masterpiece, In the Aeroplane Over the Sea, I'd cite Dusk at Cubist Castle as a more alternative take on the territory of Radiohead's celebrated OK Computer, with both albums sharing the same loose conceptual edge, bizarre and varied approach to musicianship, and a stark and jarring combination of dissonant noise blurring seamlessly with traditional rock and pop structures.

Like their follow up album Black Foliage, as well as related records like On Avery Island, Black Swan Network and Circulatory System, the songs on Dusk at Cubist Castle (as well as the album's subtitle, Music from the Unrealised Film Script) seems to suggest the idea of a concept... though what it is remains vague and fragmented by the stretches of surreal dreamlike lyrics, and the wild switches in style. The album even has a ten-song mini song cycle positioned in the middle of the album called Green Typewriters (which runs through tracks 12 to 22), which merges a variety of wild influences, including White Album-era Beatles and BBC field recording techniques, into one seamless sonic dreamscape. What it all means remains a mystery, though the All Music Guide suggests a story involving a pair of women named Olivia and Jacqueline, and a massive earthquake dubbed the California Demise... which makes sense, I suppose!!

The more you listen to the album, the more it takes a hold of you... At least half of the songs work as great pieces of pop, with the opening track The Opera House having a very modern style that is removed from the mock-60's referentialism of acts like the Apples in Stereo, The Dukes of Stratosphere and The Brian Jonestown Massacre. Jumping Fences, Define a Transparent Dream, No Growing (Exegesis), Holiday Surprise 1-3 and Memories of Jacqueline 1906 are all fine pop songs that have a touch of the Dukes circa 25 O' Clock about them, whilst also managing to present remnants of a sound that is more interesting and unique. The sound collages work well too, adding a depth to the songs that surround them, whilst further highlighting the bizarre concept at hand. Unlike "real" progressive acts of the 60's and 70's, the Olivia Tremor Control never seem to be adding noise or bizarre instrumentation simply because they can... in fact, it mostly seems like the songs were written and envisioned this way to begin with.

They also don't let the concept get in the way of the album as something to listen to for entertainment and enjoyment, with most of the songs possessing strong melodies, interesting lyrics and a great performance (or as great as you can get when recording on a four-track in someone's living room!!). The lo-fi aesthetic works great here (as it did for Neutral Milk Hotel, who recorded in a similar fashion at roughly the same time), with the songs benefiting from the warm fuzz of the instruments and the slightly muffled vocals, which to me, gives the songs a sense of intimacy that jars against the exotic sounds and the expansive concept. After four or five listens, the album makes sense, and flows seamlessly from beginning to end (Hart and Doss clearly taking a lot of care in the way the songs and the album have been sequenced!!), with the diverse and disorientating sound of each song eventually creating a bizarre and dreamlike mood that flows brilliantly from beginning to end. Dusk at Cubist Castle, along with the follow up Black Foliage, remains a great and continually interesting album from a greatly underrated band, and along with gems like In the Aeroplane over the Sea, On Avery Island and Circulatory System, is a highlight of the esteemed Elephant 6 Collective.

A Transparent Dream: Psychedelic, Ambient, Dear Prudence, Noise, Pet Sounds, Toy Piano . . . .......2005-12-04

Geez. I was forty-four years old. For twenty years (and more) I had been trying to re-create the moment when I first listened to Talking Heads' "Speaking in Tongues." "Dusk at Cubist Castle" had arrived that day. The wife and kids gathered around the boom box in the kitchen. "Let's check this out."

What I heard I was not prepared to digest--psychedelic, ambient, dear prudence, noise, pet sounds, beatles, pop, . . . transparent dream. I didn't have a category for this . . . and I still don't. But that night "Dusk at Cubist Castle" convinced me that music wasn't dead (as I had come to almost believe).

In the wake of that night, the Olivia Tremor Contral has ruined most other music for me. And here is why.

1. "Dusk at Cubist Castle" took me to a place I had never been before. A unique and new listening experience: I haven't gotten much of that from other artists before or since.

2. There is an artistic vision in the work. Sure the vision isn't as consistent in "Dusk at Cubist Castle" as it is in "Black Foliage," but it is there. The vision of most artist doesn't extend much beyond trying to get me to open my wallet and buy their stuff.

3. The work is generous. On listen after listen, "Dusk at Cubist Castle" continues to speak to me. It is layered and complex and is therefore able to give something over time. This is one standard of good art: with each viewing or listen it speaks to you. Most art has said all it has to say in one glimpse, in one listen.

4. It offers a rich sonic experience. I am sick to death of guitars, bass, and drums. In some sense that combination is in danger of playing itself out (the exception may be Spoon). "Dusk at Cubit Castle" creates a complex and unexpected landscape of sound.

So now I spend my time trying to re-create the experience of listening to "Dusk at Cubist Castle" for the first time. Here is what I have found that is worth mentioning: Olivia Tremor Control's "Black Foliage" (a stronger work); Circulatory System's eponymous CD; the Go! Team's "Thunder, Lightning, Strike"; Elf Power's "A Dream in Sound"; Dungen's "Ta Det Lugnt"; Manitoba's "Up in Flames"; and the Microphones' "The Glow Part 2"; All Night Radio's "Spirit, Radio, Frequency"; and, of course, Neutral Milk Hotel's "In the Aeroplane Over the Sea."

Check out "Dusk at Cubist Castle" and invite me over for the first listen.

No Classic.......2005-11-23

Unfortunately, this band sounds a lot more like Robert Schneider's other band than Jeff Mangum's. While not as sickly sweet as most Apples in Stereo stuff, it still lacks the edge and toughness to be great pop. And of course, it's needlessly "challenging" with all the random sounds and beeps and whatever. I think this band and the Apples (see Her Wallpaper Reverie) put that kind of stuff next to their conventional songs because they are trying to make up for the fact that their songs are a little too bubbly and sugary to be taken seriously. You often end up with the worst of both worlds- lightweight pop and unlistenable noise.

I believe that Elephant Six produced many fair-to-good albums, a whole bunch of garbage and just two unquestionably great albums: The Coast is Never Clear and In the Aeroplane Over The Sea. Consider this a good one, but make sure you have those two before wading into this one.

a few too many ingredients.......2005-11-02

Pretty enjoyable through and through, though some of the songs seem nearly buried in all the sound effects, toy instruments, bells and singing saws. It's a little like an "everything" bagel -- the novelty is intact, but there are too many competing flavors.

I love this album about every other time I listen to it, and I really enjoy the drawn-out sound collage in the midsection, but it can otherwise be overwhelming and busy sounding.

OTC could have saved a few of these ideas for a follow-up album.

maybe 3 .5 ?.......2005-10-06

This is a decent album, and probably the best on the Elephant 6 label. Alot of the songs lack punch and rawness that classic psych displayed in spades. The Elephant 6 bands always played the sunny approach to psychedelia and at times these songs sound like bad acid jingles(commercials)lacking any real edge or balls. While this album is no classic, it still has its moments. There are many interesting sound effects/noise pastiches emulating the Beach Boys with some solid songs/songwriting in between. The Opera House is hard edged psychedelia that will shred your speakers in half and one of the best songs on the album. Can You Come Down With Us, Transparent Dream, and Tropical Bells are also among the better songs on the album that conjure up a spacey atmosphere. That said, this album is no S.F. Sorrow, C.Q. (the Outsiders), Begin (Millennium), Revolver, The Who Sell Out, Surf's Up, Before The Dream Faded or Odessey and Oracle.

Average customer rating:

THE BEST BLACK METAL ALBUM EVER

Anthems to the Welkin at Dusk
Emperor
Manufacturer: Candlelight
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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ASIN: B00066FMZQ
Release Date: 2004-11-02

Tracks:

Alsbartr (The Oath)
Ye Entrancemperium
Thus Spake the Nightspirit
Ensorcelled by Khaos
Loss and Curse of Reverence
Acclamation of Bonds
With Strength I Burn
Wanderer
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Opus a Satana [*]
Loss and Curse of Reverence [Live][*]

Customer Reviews:

THE BEST BLACK METAL ALBUM EVER.......2007-07-28

After a very impressive release with "IN THE NIGHTSIDE ECLIPSE", EMPEROR comes screaming back this this crowning achievement!! After 'NIGHTSIDE' The band was rocked by various issues, wich has been covered so I'm not going to discusss it, and it was a question wheather they would continue as a band. the answer is definetly YES!! IHSAHN put the skeleton of the album together and, comunicating with SAMOTH worked out the songs. with new drummer TRYM(ex-ENSLAVED) and new bassist ALVER, EMPEROR has created a very extreme album, but at the same time, very emotive and atmospheric. With the opening track, they seem to capture the sounds of the northern forest before the second track blows up in your face! From that point on, it is a roaller coaster of sounds and atmosphere. The track that stands out is the 8 min. plus "WITH STRENGHT I BURN" witch captures the bands brutal, but atmospheric and emotive style like no other song. In addition, the lyrics tell a haunting story with 'properly sung' parts. As the album draws to a close, we are treated to a classical, symphonic piece to show the bands classical EUROPEAN influence. BY FAR THE BEST BLACK METAL ALBUM EVER!!

Average customer rating:

Piano master
Oh, Kitten...it's a Must Have
Almost , Nearly, perfect
Much more than Kitten On the Keys
Zany yet poetic!

Confrey: Piano Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000HZOE
Release Date: 1999-01-19

Tracks:

Kitten On The Keys
Dizzy Fingers
Meandering
African Suite: I. High Hattin'
African Suite: II. Kinda Careless
African Suite: III. Mississippi Shivers
Jay Walk
Sparkling Waters
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Amazon.com

Zez Confrey (1895-1971) may not be a household name, but his 1921 masterpiece "Kitten on the Keys" certainly is. The Illinois-born composer studied the classics growing up, but somehow the temptation of Vaudeville sneaked its way into his compositions and he found success writing catchy ragtime miniatures with goofy names ("Wise Cracker Suite," "Dizzy Fingers," "Blue Tornado"). Republic of Georgia pianist Eteri Andjaparidze performs 24 of Confrey's works with technical perfection and plenty of spirit--two requirements for these compositions--but sounds a tad robotic on some numbers. Between "Kitten" and 1959's "Fourth Dimension," Confrey explored blues, rags, Latin rhythms, and--of course--jazz, but the real highlight here is a slow number, the four-movement Moods of a New Yorker. In sum, this a great tribute featuring great music, perfect for fans of George Gershwin, Ferde Grofé, Jelly Roll Morton, and Joseph Lamb. --Jason Verlinde

Customer Reviews:

Piano master.......2007-07-30

Zez Confrey is part Gershwin, part Joplin and part Art Tatum, yet still unique - you pretty much can't miss with that combination. The music is totally original, complex, melodic and beautiful. The performances, by Eteri Audjaparidze, are flawless and heart-felt; I think Confrey would be pleased with her interpretations.

Oh, Kitten...it's a Must Have.......2004-12-29

Hats off to Naxos for releasing this absolutely perfect tribute to Zez Confrey - it was high time, someone had to do it, and Naxos has done Confrey real justice. One would expect caricature of his work, rather than the respectful, honest, accurate renditions of his work featured on this album.

I discovered my love for Confrey thanks to the Aeolian Hall Birth of Rhapsody in Blue album (another of my reviews covers that great one), which featured a small selection of his compositions. The distinct, unique sound of his work snagged me immediately, and so I was thrilled to come upon this little Naxos treat.

Every piece on the album is sheer delight, but several do stand out from the rest. "Kitten on the Keys" (Confrey's most famous composition, here done full justice), "Meandering" (which just glides and lilts along like feathers on a breeze), "Kinda Careless" (a sensuous, seductive little number), "Yokel Opus" (a snappy little foxtrot), "Coaxing the Piano" (which seems almost an homage to 'Twelfth Street Rag', in a skewed way), "Movie Ballet" (which sounds exactly like its title would suggest), and "Rhythm Venture" (so gracefully syncopated, it's practically a marvel).

Any and all Confrey and jazz fans should consider this album as required listening, and well worth owning. The price alone is reason enough - you cannot go wrong with Naxos' rates. But even if it were four times the price, it would still be a bargain.

Almost , Nearly, perfect.......2003-10-25

Wonderful selection of pieces, most of these are lesser-known Confrey and tend to represent his more "Serious" music. Perhaps because of that the pianist (a superb performer) tends to emphasize their concert qualities over their popular music aspects. This is only a tiny complaint. There's a lot of excellect music here, and at Naxos' low price it's a bargan.

Much more than Kitten On the Keys.......2002-05-16

If you thought an album of Zez Confrey music would be track after track like Dizzy Fingers or Kitten On the Keys, you are in a for a pleasant surprise with this superb CD.

The performances of the said party pieces are fast, furious and fun, but there are also some great blues renditions, and some lyrical, reflective pieces.

I would have preferred if the CD had included a few more of the well-known pieces like My Pet, Poor Buttermilk and You Tell 'Em, Ivories, but the many pieces I had never heard of are interesting, and are played beautifully.

Zany yet poetic!.......2000-09-04

Once again, in its "American Classics" series, Naxos has pulled a pleasant surprise rabbit out of the hat. Zez Confrey must be a new name for virtually everyone, unless they are well past my own age, and I don't go back quite that far. The name was certainly new for me, but a few of the pieces on this disc brought memories flooding back, most likely because my parents once had them coupled on an ancient 78 shellac.

Confrey (1895 - 1971) had been relegated pretty much to the dustbin of history before this release. But he did have his days in the sun between the two world wars. Undoubtedly his brightest moment was when he shared billing with George Gershwin and Paul Whiteman on the occasion of the premiere for Gershwin's Rhapsody in Blue, where Confrey had the stage in the first half of the concert and Gershwin in the second. For the most part, after that February, 1924 "An Experiment in Modern Music" concert of Whiteman's, the paths of Gershwin and Confrey began to diverge; Gershwin was, to put it simply, an overnight success.

All of the music on this album is fun, and virtually all of it demands virtuosic pianistic ability, which Confrey must certainly have possessed. Listening to it is like taking a trip down memory lane, back to the popular music in the first third of the previous century. There are pieces which have clear roots in ragtime, embellished upon and brought forward by a few decades, and at least a selection or two which sound very much like Gershwin preludes in their "bluesy" feel. It's also clear that Confrey was not unaware of the classical music of the period, because a few of the pieces capture the idioms of the piano music of Rachmaninoff and Ravel of that period (although they soon veer off into "Confrey territory"). If you listen carefully, you'll even hear a passing reference or two to Chopin. But, like the Rachmaninoff and Ravel musical allusions, these too are in fact just "passing references."

But most of the album is pure Confrey-style pianistic wizardry: Fleet fingers, crossing hands, syncopations and rhythmic "irregularities" with the colorfully descriptive titles of "Meandering", "Coaxing the Piano" and "Stumbling." And his two most famous pieces (which, probably, many of us have never heard), "Kitten on the Keys" and "Dizzy Fingers." (In fact, it was "Dizzy Fingers" and "Stumbling" which must have been the coupling on that ancient 78, because they were immediately recognizable.)

Eteri Andjaparidze is an excellent technician in this work, which can be very demanding of technique if it is to be pulled off properly. By and large, she does very well by it. In particular, she succeeds in capturing the passing allusions to the classical piano music of the time. If I had my druthers, I might ask for a little more panache, or insouciance, if you like, in the Confrey specialities noted in the previous paragraph. But who can quibble, especially at the Naxos price, without appearing to be a piker?

Neat stuff for a refreshing change of pace, with an opportunity to hear an hour's worth of music by someone who had been ignored for too long. That's a "get it" recommendation!

Bob Zeidler

Average customer rating:

Noir Original Soundtrack 2

Manufacturer: Geneon [Pioneer]
ProductGroup: Music
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Noir, Anime Television Score/Le Grand Retour
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A worthwhile investment
Excelent compilation!
Amazingly Now Retrospective
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Jabiru Dreaming, Quartet #11 (1990): I. Deciso
Jabiru Dreaming, Quartet #11 (1990): II. Amoroso
Quartet #8 (1969): I. Con dolore
Quartet #8 (1969): II. Risoluto; calmo
Quartet #8 (1969): III. Con dolore
Quartet #8 (1969): IV. Con precisione
Quartet #8 (1969): V. Con dolore
From Ubirr (1994)
Tragedy at the Opera (1995)
White Man Sleeps Quartet #1: First Dance
White Man Sleeps Quartet #1: Second Dance
White Man Sleeps Quartet #1: Third Dance
White Man Sleeps Quartet #1: Fourth Dance
White Man Sleeps Quartet #1: Fifth Dance

Amazon.com

Seems like only yesterday the Kronos Quartet stepped up their career as musical mavericks with a coveted, wide-open contract with Nonesuch Records. Now it's Nonesuch's turn to give Kronos the big-package nod, gathering key works recorded by the group--from younger composers and time-tested veterans alike--into this 10-CD box set. As one might expect, the set is stuffed with contrasts, from the first CD, with its 11-part, upstepping John Adams suite and then the far more solemn Missa Syllabica from Arvo Pärt. Nearly 20 of these pieces here were composed expressly for Kronos, pitched and sculpted for their easily-racked mixture of straightforward string quartet roles and intelligently restructured approaches to the even the simplest gestures. Perhaps most key here is George Crumb's Black Angels, in large part due to Crumb's role in inspiring David Harrington to form Kronos 25 years ago. Crumb's music spirals and chases through the air, engaging high pitches and fast pacings as if they were ends in themselves. Gone from this set are most of the short snippets that have filled some of Kronos's other fine single CD recordings. In abundance instead are some of the legendary works: Morton Feldman's long, endlessly patient Piano and String Quartet (with Aki Takahashi), Steve Reich's unnerving Different Trains, and Henryk Górecki's String Quartets Nos. 1 and 2. There are also some of the astounding Eastern European works from Night Prayers as well, including the stunning Quartet No. 4 from Sofia Gubaidulina. And of course there are the Kronos biggie pieces: Philip Glass's works fill one CD, and so do Terry Riley's. What's more, Riley's Cadenza on the Night Plain and "G Song" are presented here in entirely fresh, new recordings. What the listener gets is a huge block of music, full of shifting colors and textures but perfectly apt in giving a wide-angle vantage on what Kronos has done for contemporary music. --Andrew Bartlett

Customer Reviews:

A worthwhile investment.......2003-10-06

It would be an understatement to say that this is a fabulous box set. All 10 CDs are packed with some fabulous music that beautifull highlights the first 25 years of the Kronos Quartet, and the booklet included provides a great history of the group as well as nice blurbs on the composers and their pieces.

Equally nice about the box set is the inclusion of multiple new recordings, thus making this a worthwhile investment for fans. The Peter Sculthorpe Quartets are a particularly nice addition, as are the added Piazzolla, Part, and Riley compositions.

Along with this, the "classic" Kronos recordings are all here: "Black Angels" "Different Trains" "Salome Dances for Peace" (well, exceprts), and Feldman's Piano and String Quartet. Of particular note, I think is the inclusion of Gubaidulina's Quartet No 4, a fabulous recording that is otherwise hidden in Kronos' recording "Night Prayers."

Yes, this is quite an investment, but I firmly believe that it's worth it - longtime fans and newcomers alike have a lot to gain from this collection.

Excelent compilation!.......2001-09-09

I like more classic period, like Hayden, but Cronos does it very well, technicaly excelent. The ten sets are wonderful recordings and the selection is unique. It deserves the investment, If you buy it, youre going to have more than ten hours of joy.

Amazingly Now Retrospective.......2001-06-26

Since their youthful start in the NW back in the 70's, Kronos has collaborated with, commissioned, or just played such a breadth of musicians it almost seems that breadth - and especially non western world culture - is their mission. But, while this conservatively and esthetically designed 25-yr-retrospective box (with its increasingly sophisticated photo-portraits) belies the pulsation of social angst and conscience that underlies the bulk of the inclusions, the latter concern, its vitality and relevance - and not some stylish chasing after cultural breadth - is what overtakes the listener/reader, rather soon. I say reader, since the booklet is very helpful, especially to the relative novice, and well balanced in its coverage of composers, historical contexts, performers, individual texts, etc.

There are probably more non contemporaries performed by the Quartet over the years than this selection would indicate. That undercuts their ties with the sense of revolution in music throughout the ages, but it leaves more time for the present: and that is where one expects the group wishes to be, is most contributory and challenged, and is best and most fairly judged. Highly recommended, both for those who know Kronos's work well and wish a handsome tribute on their shelf, and for those who do not but are open and ready to be affected, whether impacted esthetically, reminded socio-morally, or whatever combination of both befits.

How Could You Not Listen?.......1998-12-19

My opinion pales when compared to this CD. Indeed the group's ingeniousness, its knowing and its balls are in full display here, hopefully to put to rest any lingering contention that there is little more to Kronos than form. To any person who accepts the merits of 20th-century music, this CD presents the genius of our culture and teaches that daring and ingenuity do not have to be sacrificed on the road to technical brilliance. My only regret is that the CD does not include Kronos's interpretation of Bartok. But, so what? Górecki's here, as are Part and Benshoof. Listen to this CD -- soar and struggle with it.

Good for help to know up-to-date contemporaly music.......1998-11-28

The Kronos Quartet has released many albums. There let us see what the quartet has tried new titles and arrenges in each period. But this is the best set for understand the quartet as summary of thier works. The CDs are distributed by each composers and we can see thier identities easily.Unfortunately this dose not include all but be enough to see what the quartet has been.I hope that every classical music fans(not only contemporaly music fans) listen this CDs.

Average customer rating:

Beautiful music.
5 stars for performance, 4 stars due to omissions
"Hammer & Silva...raises the hair on the back of your neck"

Hammer the Studio That Dripped Blood
Various Artists
Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Soundtracks | Indie Music | Stores | Music
Similar Items:

Legendary Horror Films
Universal's Classic Scores of Mystery & Horror
Monster Music: Film Music Classics
House of Frankenstein
The Hammer Studio Frankenstein Film Music Collection

ASIN: B000063IUP
Release Date: 2002-04-09

Tracks:

Main Theme/Inside Castle Darcula/Lure Of The Vampire Women/Dracula's Rage/The Kiss Of The Living Dead (Dracula)
Funeral In Carpethia/Finale: Confrontation & Climax/The Fall Of Dracula (Dracula Prince Of Darkness)
Love Theme (The Scars Of Dracula)
Finale/Dracula And The Crucifix (Dracula Has Risen From The Grave)
The Blood Of Dracula (Taste The Blood Of Dracula)
Romance: The Young Lovers/Shadow Of The Tomb (Taste The Blood Of Dracula)
Ride To The Ruined Church/Romance At Dusk (Taste The Blood Of Dracula)
Dracula Triumphant/Pursuit/Death Of Lucy (Taste The Blood Of Dracula)
The Victory Of Love (Taste The Blood Of Dracula)
Christina (Frankenstein Created Woman)
The Power Of Evil (The Devil Rides Out)
Invocation To The Devil/Dance Frenzy (The Devil Rides Out)
Awakening And Absolution (The Devil Rides Out)
Vampire Rhapsody (Kiss Of The Vampire)

Tracks:

Cosmic Sequence/Tumak Meets Luana/In The Domain Of The Shell People/Eruption Of The Volcano (One Million Years B.C.) - Mario Nascimbene
Main Theme/Storm Over The Sea (When Dinasours Ruled The Earth) - Mario Nascimbene
Life Of The Tribe/Finale (Creatures The World Forgot) - Mario Nascimbene
The Tomb/The Desert (The Curse Of The Mummy's Tomb) - Carlo Martelli
Ayesha - She Who Must Be Obeyed (She)
Bedouin Attack & Desert Quest (She)
In The Kingdom Of She - Processional/The Cruelty Of She (She)
The Eternal Flame And The Destruction Of She (She)
Main Title (The Abominable Snowman) - Humphrey Searle
Defeat Of The Aliens/Finale (Quatermass II)
Main Titles/Anna's Theme - Christopher Gunning
Prologue (Vampire Circus) - David Whitaker
Main Themes (The Vampire Hunter) - Jamed Bernard
Pastorale/The Werewolf At Bay/Aptheosis (Curse Of The Werewolf) - Benjamin Frankel

Customer Reviews:

Beautiful music........2007-01-10

I sat back with the lights dimmed and a cup of hot coffee and enjoyed the beautiful haunting music of years gone by. Memories abound.

5 stars for performance, 4 stars due to omissions.......2006-08-29

Why doesn't this get a perfect five stars?

Simple reason.

The producers at Silva, for wahtever reason, decided to cut down their SHE suites and Hands of the Ripper suites.

On the previous Hammer releases, "Draculas - Classic Horror Films", released in 1993, recorded in 1989, they had seven additional minutes of "Hands of the Ripper" that could have been included on this set.

Additionally, The Devil Rides Out: Film Music of James Bernard, released in 1997, recorded in 1995 and 1996 had about a minute more of additional music from SHE, PLUS about seven minutes worth of suites from Quatermass and X: The Unknown.

Both discs in this new re-issue round out at around 68 minutes, so there was room for some of these omissions.

Silva Screen gets big kudos for a reissuing these recordeings in the remastered HDCD format, but I don't understand these omissions. In fact, one of the tracks included, "Vampire Hunter" isn't even from a Hammer film, and its the only recording on this collection not on previous Silva CD's.

Again, 5 stars for the performances, the 1989 performances with Neil Richardson and the Philharmonia are fantastic. (Dracula, Dracula: Prince of Darkness, Dracula Has Risen From The Grave, Taste the Blood of Dracula, Hands of the Ripper, Vampire Circus.)

Additionally, The Westminster Philharmonic under the baton of Kenneth Alwyn do an excellent job as usual (Kiss of the Vampire, Curse of the Mummy's Tomb, She, THe Abominable Snowman, Quatermass II and Curse of the Werewolf.) Finally, the City of Prague Philharmonic, who get a bad rap more often than they deserve round out hte album and IMHO, deliver the goods, under the trusty batons of Paul Bateman (Scars of Dracula, Frankenstein Created Woman, additionally, Bateman also plays the piano solo on Kiss of the Vampire.) and Nic Raine (The Devil Rides Out, One Million Years BC, When Dinosuars Ruled the Earth, Creatures The World Forgot, The Vampire Hunter)

I'd give it 4.5 stars if I could.

Much thanks to producers David Wishart, Eric Tomlinson and James Fitzpatrick and recording engineers Mike Ross-Trevor, John Luard Timperley and Jan Holzner for contributing to these fine historical film music recordings.

"Hammer & Silva...raises the hair on the back of your neck".......2002-04-09

Silva Screen takes us on tour through the castles of Transylvania with a collection of
outstanding scores from James Bernard on Disc One ~ "DRACULA" (1958)..."KISS OF
THE VAMPIRE" (1964)..."DRACULA PRINCE OF DARKNESS"
(1966)..."FRANKENSTEIN CREATED WOMAN" (1967)..."THE DEVIL RIDES OUT"
(1968)..."DRACULA HAS RISEN FROM THE GRAVE" (1968)..."THE SCARS OF
DRACULA" (1970)..."TASTE THE BLOOD OF DRACULA" (1970)...even though the
blood doesn't flow as easily in "KISS OF THE VAMPIRE", the score from Bernard is
seductive, sensual to say the least for "creatures of the night", masked ball scene blends
atmospheric trance-masquerade themes, intoxicating main title is hauntingly mesmerizing with
"VAMPIRE RHAPSODY", just listen to the piano solo from our character in the film Carl
Ravna (Barry Warren), son of Dr. Ravna (Noel Willman) along with daughter Sabena Ravna
(Jacqueline Wallis), a cult of vampires in early 20th century Bavarian, praying on a young
honeymoon couple...Bernard's rhapsody captures the listeners heart and BLOOD!

Let's look at Disc Two with the other Hammer themes and their composers ~ "THE
ABOMINABLE SNOWMAN" (1957-Humphrey Searle)..."QUATERMASS II"
(1957-James Bernard)..."CURSE OF THE WEREWOLF" (1960-Benjamin
Frankel)..."CURSE OF THE MUMMY'S TOMB" (1964-Carlo Martelli)..."SHE"
(1965-James Bernard)..."ONE MILLION YEARS B.C." (1966-Mario
Nascimbene)..."WHEN DINOSAURS RULED THE EARTH" (1969-Mario
Nascimbene)..."HANDS OF THE RIPPER" (1971-Christopher Gunning)..."VAMPIRE
CIRCUS" (1971-David Whitaker)..."VAMPIRE HUNTER" (2000-James
Bernard)...difficult as it may be, there is a stand out ~ "THE CURSE OF THE
WEREWOLF", fine direction from Terence Fisher (director) with an outstanding cast Oliver
Reed (Leon-the Werewolf), Clifford Evans (Alfredo), Yvonne Romain (Servant Girl) and
Catherine Feller (Christina), Hammer's departure from the old stereotype of the beast is
refreshing, Reed's performance as the tormented sole, from man to wolf is touching, the score
by Ben Frankel is tense building at it's best, to say the least, setting the tone and mood for the
transformation with counterpoints is stimulating, inclusive orchestration development for what
lies ahead during a full moon.

Without a doubt the highlight pick hands down is "SHE", composer James Bernard gives of
himself without question, the SUITE takes the orchestra into lilting melodic exercises with
percussion chiming in, the harmonies are hypnotic blends of textured fabric, listen as The
Westminster Philharmonic Orchestra conducted by Kenneth Alwyn display stirring strings and
a solo harp run the scales in "THE ETERNAL FLAME AND THE DESTRUCTION OF
SHE", hold-fast arrangement has haunting echoes of Bernard's constant theme, with a final
beat from a drum in the percussion section.

Must make mention the cast of players that made this possible ~ The Philharmonia Orchestra,
The City Of Prague Philharmonic Orchestra, The Westminster Philharmonic Orchestra ~ and
their various conductors Kenneth Alwyn, Paul Bateman, Nic Raine and Neil
Richardson...supported by the illustrious staff from Silva Screen Records LTD ~ Reynold da
Silva (executive producer), David Stoner (associate producer), Gareth Williams (Dolby
Surround/HDCD Mastering) and of course James Fitzpatrick (compilation producer), who
has the knack of developing quality in every Silva Screen release...similar to "A History Of
Horror:From Nosferatu To The Sixth Sense" (SSD-1111/2CD Set), guaranteed to raise the
hair on the back of your neck!

Tracks:

Sarabande And Rigaudon: Sarabande
Sarabande And Rigaudon: Rigaudon
Threnodies I And II: Threnody I
Threnodies I And II: Threnody II
Three Pieces For Flute And Piano, Op. 31B: I. Aubade villageoise
Three Pieces For Flute And Piano, Op. 31B: II. Melodie
Three Pieces For Flute And Piano, Op. 31B: III. Pastorale
As It Fell Upon A Day
At Dusk
Vocalise
Nocturne And Scherzo: Nocturne
Nocturne And Scherzo: Scherzo
Duo For Flute And Piano: I. Flowing
Duo For Flute And Piano: II. Poetic, Somewhat Mournful
Duo For Flute And Piano: III. Lively, With Bounce

Customer Reviews:

A welcome addition..........2003-12-07

... to the chamber music catalog. Arthur Foote was a prominent Boston composer in the late 19th and early 20th centuries, much influenced by Brahms. He excelled at chamber music and I think these works are quite representative. For those who know and like his works, Naxos has issued a three volume survey of great merit. The Copland pieces will probably seem more familiar and are equally wothwhile. Boston is exceptionally blessed with classical music performing talent and these performers represent the highest standards. A solid recommendation for the more adventurous.

Two Very Contrasting Composers.......2001-03-13

Copland and Foote are not very similar sounding when it comes to this assortment of chamber music. Foote sounds almost Baroque sounding at times while Copland is very distinctly modern.

You can sense the American spirit in the final movement of Copland's Flute and Piano Duo which is very good. The second movement is kinda dreary and the first is intersting indeed. The scales in the 1st and 2nd movement is what makes them so unique (even though there are two unique movement....ironic isn't it?). Much of the rest of the Copland works are soft but are experiments of sometimes seeming awkward chords to the untrained ear. But after a few listening, you get to like it.

Foote is a very interesting composer who I have not heard of until now. He has such a grand ability to compose simple melodies, but with great softness yet very out going. It's something that is only charistical of him. I recommend listening to some samples of his to get a feeling of what he is like.

Tracks:

A Soft Day - Bernadette Greevy
Irish Skies - Bernadette Greevy
Cherry Ripe - Janice Watson
Mustard And Cress - Neal Davies
The Lily Of A Day - Janice Watson
Henry King - Neal Davies
Fain Would I Change That Note - Graham Johnson
In Summer-Time On Bredon - Christopher Maltman
The Lads In Their Hundreds - Christopher Maltman
Among The Rocks - Graham Johnson
It Was A Lover And His Lass - Anthony Rolfe Johnson
The Water Mill - Anthony Rolfe Johnson
On Wenlock Edge - Anthony Rolfe Johnson
The Call - Graham Johnson
Silent Noon - Graham Johnson
Now In These Fairylands - Philip Langridge
The Dream-City - Philip Langridge
Margrete's Cradle Song - Susan Gritton
The Heart Worships - Christopher Maltman
Take, O Those Lips Away - Anthony Rolfe Johnson
Now Sleeps The Crimson Petal - Graham Johnson
Love Calls Through The Summer Night - Anthony Rolfe Johnson
I Will Go With My Father A-Ploughing - Graham Johnson
The Rio Grande (Capstan Shanty) - Ian Partridge
Theodore, Or The Pirate King - Ian Partridge
A Long Time Ago (Hilliard's Shanty) - Ian Partridge
Oh Dear, What Can The Matter Be? - Bernadette Greevy

Tracks:

The Grenadier - Richard Edgar-Wilson
The Young Lover - Richard Edgar-Wilson
Betty And Johnny - Richard Edgar-Wilson
Rise Up And Reach The Stars - Richard Edgar-Wilson
The Bells - Nik Hancock-Child
Ann's Cradle Song - Nik Hancock-Child
As I Lay In The Early Sun - Nik Hancock-Child
The Cherry Tree - Nik Hancock-Child
Dusk - Nik Hancock-Child
Peter Warlock's Fancy - John Constable
The Frostbound Wood - John Constable
Chopcherry - John Constable
A Sad Song - John Constable
Rutterkin - John Constable
Bethlehem Down - John Constable
Wapping Old Stairs - Felicity Lott
Long Steel Grass - Martyn Hill
Tango-Pasodoble - Martyn Hill
Popular Song - Martyn Hill
Beatriz's Song - Felicity Lott
Lay Your Sleeping Head, My Love - Philip Langridge
Early One Morning - Felicity Lott
The Foggy, Foggy View - Philip Langridge
Now The Leaves Are Falling Fast - Philip Langridge
Tell Me The Truth About Love - Della Jones
The Choirmaster's Burial - Philip Langridge

Customer Reviews:

A century of British art songs to delight those who love them.......2006-06-26

These 53 songs have been collected by Naxos from their extensive acquisitions from Collins Classics, and perhaps other British sources now out of business. There's a steady cottage industry, year after year, producing the typical English art song, which is usually based on folk songs, but even in more modern idioms is profuondly conservative and nostaligic. Half these songs, not to mention half the composers, are totally unknown to American audiences, but the familiar names of Vaughan Williams and Britten represent high quality, and the lesser lights, such as Warlock and Quilter, are mainstays in this repertoire.

I'd challenge all but the most addicted listener to make it through more than ten songs at a sitting, and many of these pieces are tepid, offering comfort rather than inspiration. The singers are among the best, but Graham Johnson and Steuart Beford, who do most of the accompaniments, are lackluster. I know that won't be a popular comment, yet if you compare any of these songs with rendiitons done by Janet Baker, John Shirley-quirk, and most recently Bryn Terfel and Ian Bostridge, you immediately notice how much more intensity and drama is pesent than htis colleciton reveals.

Average customer rating:

Fantastic Fournier

Les Introuvables de Pierre Fournier

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Pierre Fournier: Aristocrat of the Cello [United Kingdom]
Bach: 6 Suiten für Violoncello solo
Beethoven: Complete Works for Cello & Piano
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Beethoven: The Music for Cello and Piano

ASIN: B0000241DO
Release Date: 2002-08-05

Tracks:

Cello Concerto No. 2 In D Major, H. 7b Op. 101
Cello Concerto In A Minor, Op. 129
Phantasiestke (3 Fantasy Pieces) For Clarinet (Or Cello Or Violin) & Piano, Op
Variations On A Rococo Theme, For Cello & Orchestra (Or Cello & Piano) In A Majo
Sonata For Cello & Piano No. 1 In F Major, Op. 5/1
Sonata For Cello & Piano No. 2 In G Minor, Op. 5/2
Sonata For Cello & Piano No. 3 In A Major, Op. 69
Sonata For Cello & Piano No. 4 In C Major, Op. 102/1
Sonata For Cello & Piano No. 5 In D Major, Op. 102/2
Sonata For Arpeggione & Piano In A Minor, D.821
Pieces For Children Big And Small For Piano, 4 Hands Op. 85
Feldeinsamkeit ("Ich Ruhe Still Im Hohen Gren Gras"), Song For Voice & Piano,
Romance For Cello & Piano, Op. 69
Shylock, Incidental Music And Suite For Tenor & Orch., Op. 57
Mavra, Opera Buffa In One Act
Nocturne For Violin (Or Flute) & Piano
Melody In F, Various Arrangements, Op. 3/1
Introduction & Polonaise Brilliante For Cello & Piano In C Major, Op. 3
Song Without Words For Cello & Piano In D Major, Op. 109
Le Coq D'or (The Golden Cockerel; Zolotoy Petushok), Concert Suite For Orchestra
The Tale Of Tsar Saltan, Op. 57
Carnival Of The Animals, Zoological Fantasy For 2 Pianos & Ensemble
Berceuse, For Violin & Piano (Or Orchestra) In D Major, Op. 16
Tonadillas Al Estilo Antiguo, Songs (10) For Voice & Piano, H. 136
Goyescas (Serenata Goyesca; Dusk), For Piano, H. 63
La Gitana For Violin & Piano (After An 18th Century Arabo-Spanish Gypsy Song)
Papillon, For Cello & Piano, Op. 77
L' Enfant Prodigue, Sce Lyrique For Voices & Orchestra, L. 57
Pie En Forme De Habanera, For Solo Instrument & Keyboard (Arr.)
Kaddisch, Song For Voice & Piano (Modie Hraue No. 1)
O Mensch, Bewein' Dein' Sde Gross, Chorale Prelude For Organ (Orgel-Bhlein N
Herzlich Tut Mich Verlangen, Chorale Prelude For Organ, Bwv 727 (Bc K109)
Ich Ruf Zu Dir, Herr Jesu Christ (I), Chorale Prelude For Organ (Orgel-Bhlein
Nun Komm Der Heiden Heiland (I), Chorale Prelude For Organ (Orgel-Bhlein No. 1
Sonata For Cello & Continuo In C Major, G. 6 (Six Sonatas No. 2)

Customer Reviews:

Fantastic Fournier.......2004-02-16

On this 4CD EMI Import, the great cellist Pierre Fournier performs a variety of orchestral and chamber recordings, recorded primarily in mono from the 1940s and early 50s. There are three orchestral works -- Haydn's 2nd Concerto (Kubelik/Philharmonia, 1951), Schumann's Concerto (Sargent/Philharmonia, 1956 in stereo), and Tchaikovsky's Rococo Variations (Bigot/Lamoureux, 1941). Disc two, and half of disc three, contain Beethoven Cello Sonatas with the great Artur Schnabel, while the fourth disc features a variety of pieces, from Bach and Boccherini to Debussy and Ravel, with pianist Gerald Moore. I'm withholding a fifth star because the collection contains mostly historical recordings, though it certainly captures one of history's greatest cellists in his prime. With that being said, "Les Introuvables de Pierre Fournier" is a must buy for cello entusiasts.

Average customer rating:

Many middlebrow masterworks in the mix
Fills a need for many music collections ...
British music we don't hear enough of

British Light Music Classics - 1

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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British Light Music Classics, Vol. 2
British Light Music Classics 4
British Light Music Classics, Vol. 3
American Light Music Classics
European Light Music Classics

ASIN: B000002ZXS
Release Date: 1996-06-10

Tracks:

Calling All Workers
The Haunted Ballroom
Vanity Fair
Jumping Bean
Destiny
The Boulevardier
Pas De Quatre
The Watermill
The Devil's Galop
Dusk
Puffin' Billy
Bells Across The Meadows
The Old Clockmaker
Dreaming
Elizabethan Serenade
Coronation Scot
Nights Of Gladness

Customer Reviews:

Many middlebrow masterworks in the mix.......2002-06-09

Eric Coates' "Calling All Workers" and Edward White's "Puffin' Billy" (used as Captain Kangaroo's theme music!) are the two main reasons to buy this first-rate CD. The former work, from 1940, is an elegantly rousing and structurally flawless march in symmetrical binary form, with the second section making its final appearance in augmentation, the note values doubled for wonderful dramatic effect. Such by-the-book perfection is news when encountered in Mozart or Beethoven, and it should be given its due here. The equally effective "Puffin' Billy" is breezily structured by comparison, with a minimum of thematic material transformed through theme and variation and frequent modulations into a charming and satisfyingly complete train journey. The piece is repetitious as can be, but it doesn't sound that way, and therein lies the miracle of its composition. These two works steal the CD, hands-down.

But there are several close seconds, including the marvelous, Satie-worthy "The Boulevardier," and "The Haunted Ballroom," a piece that evokes the title in a way that is almost spooky. And there's a corny but lovely piece by Albert ("In a Persian Market") Ketelbey called "Bells Across the Meadows." Ketelbey cunningly and cleverly suggests the bells of the title through the subtlest of means--namely, bells sounding in the distance. Across the meadows, almost. But the music works, and that's all that matters.

Fills a need for many music collections ..........2000-11-09

Intelligent, entertaining light orchestra music is something I find fills a great space in my collection. It's perfect for those days you just don't feel up to Mahler or Wagner, but still want some music in your life. This excellent first volume in one of Hyperion's most popular series is a great way to get started.

All of the tunes on this generously-filled CD are written by British masters of light music and played with fizzing energy and a sense of fun by Ronald Corp and his fine orchestra. No piece outstays its welcome and some may be familiar to you -- especially "Puffin' Billy," which was used as the theme for the old Captain Kangaroo children's show! Many are probably very familiar to British listeners, having been used as openers for popular BBC radio and TV shows over the years.

Tuneful and entertaining, this CD is a great find and could become one of your favorites. Give it a chance -- like me, you may find yourself hunting after others in the series: British Light Music Classics 2 and 3, American Light Music Classics, and European Light Music Classics.

British music we don't hear enough of.......2000-11-07

This CD brings a smile to my face. Vanity Fair and the Boulevardier will make you light on your feet. Dusk is another beauty. The CD is full of wonderful, clever music. I'm looking forward to getting CDs 2 and 3. The music may have been around for a while but it is a fresh as ever.

Music Info:

Music Info

music info

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