Oh What a World

Oh What a World

Editorial Reviews
Amazon.com
Singer-songwriter Paul Brady has penned tunes for everyone from Tina Turner to Santana to Art Garfunkel. For Oh What a World he has compiled a new set of songs, mostly cowritten with songwriters he has met in his travels around the globe (including the pop icon Carole King). Cheap technology has allowed many artists to create slick packages on their own, but Brady's sophisticated home-studio production works best on the songs that have a live feel, like "Travellin' Light," the gospel-tinged "Try Me One More Time," and the title tune. The more programmed and sequenced arrangements might suit some of the artists who have covered him, but the warmth of Brady's own rough-hewn, lived-in voice sounds best when he takes less of a pop approach. By combining it with real drums and a more organic style, he lends his simple love lyrics an eternal folk quality. --Michael Ross

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

Give My Regards To Broadway- Joel Grey
Swanee- Al Jolson
When The Moon Shines On The Moonshine- Bert Williams
A Pretty Girl Is Like A Melody- John Steel
My Man- Fanny Brice
Fascinating Rhythm- Fred Astaire, Adele Astaire
If You Knew Susie (Like I Know Susie)- 78rpm Version Eddie Cantor
Someone To Watch Over Me- Gertrude Lawrence
Bill- 78 rpm Version Helen Morgan
Ol' Man River- Paul Robeson
Ain't Misbehavin'- Louis Armstrong & His Orchestra
Ten Cents A Dance- Ruth Etting
Body And Soul- Libby Holman
Brother, Can You Spare A Dime- Bing Crosby
Night And Day- Fred Astaire
Heat Wave- Ethel Waters
Smoke Gets in Your Eyes- Tamara
You're The Top- Ethel Merman
Summertime- Anne Brown
September Song- Walter Huston
My Heart Belongs To Daddy- Mary Martin
It Never Entered My Mind- Shirley Ross
Bewitched, Bothered, Bewildered- Vivienne Segal
Oh, How I Hate To Get Up In The Morning- Irving Berlin
Oh, What a Beautiful Mornin'- Alfred Drake

Tracks:

New York, New York- Cris Alexander,Adolph Green,John Reardon
If I Loved You- John Raitt,Jan Clayton
Come Rain Or Come Shine- Ruby Hill,Harold Nicholas
There's No Business Like Show Business- Ensemble
How Are Things In Glocca Morra? From "Finian's Rainbow"- Ella Logan
Once In Love With Amy- Ray Bolger
Wunderbar- Alfred Drake,Patricia Morison
Some Enchanted Evening- Ezio Pinza
Lost In The Stars- Todd Duncan
Diamonds Are A Girl's Best Friend- Carol Channing
Luck Be A Lady- Robert Alda,Guys
Getting To Know You- Gertrude Lawrence
Who Cares?- Jack Carson,Betty Oakes
Stranger In Paradise- from " Kismet" Doretta Morrow,Richard Kiley
Ballad Of Mack The Knife- Gerald Price
Hey There- from "The Pajama Game" John Raitt
Whatever Lola Wants- Gwen Verdon
I Could Have Danced All Night- Julie Andrews
Standing On The Corner- from "The Most Happy Fella, 1956" Shorty Long,John Henson,Alan Gilbert
The Party's Over- Judy Holliday
Glitter And Be Gay- Barbara Cook
Tonight- Larry Kert, Carol Lawrence

Tracks:

Seventy-Six Trombones- Robert Preston
I Enjoy Being A Girl- from "Flower Drum Song, 1958" Pat Suzuki
Everything's Coming Up Roses- Ethel Merman
My Favorite Things- from "The Sound Of Music" Mary Martin
Put On A Happy Face- from "Bye Bye Birdie" Dick Van Dyke
Try To Remember- Jerry Orbach
Camelot- from "Camelot" Richard Burton
Love Makes The World Go 'Round- Anna Maria Alberghetti
I Believe In You- Robert Morse And Co.
The Sweetest Sounds- Diahann Carroll,Richard Kiley
Comedy Tonight- Zero Mostel
What Kind Of Fool Am I?- Anthony Newley
As Long As He Needs Me- Georgia Brown
Hello, Dolly!- Carol Channing,Cast
People- Barbra Streisand
Anyone Can Whistle- from "Anyone Can Whistle" Lee Remick
If I Were A Rich Man- Zero Mostel
Night Song- Sammy Davis, Jr.
The Impossible Dream- Richard Kiley
If My Friends Could See Me Now- Gwen Verdon
Open a New Window- from Mame Voice

Tracks:

Willkommen- from "Cabaret" Joel Grey
Let The Sunshine In- James Rado,Lynn Kellogg,Melba Moore,Cast
I'll Never Fall In Love Again- Jill O'Hara,Jerry Orbach
The Ladies Who Lunch- from "Company" Elaine Stritch
Tea For Two- Roger Rathburn,Susan Watson
I'm Still Here- Yvonne De Carlo
I Don't Know How To Love Him- Yvonne Elliman
We Go Together- Adrienne Barbeau,Barry Bostwick,Walter Bobbie,Cast
Corner Of The Sky- John Rubinstein
Send In The Clowns- Glynis Johns
Ease On Down The Road- Stephanie Mills,Tiger Haynes,Ted Ross,Hinton
One- from "A Chorus Line" Cast
All That Jazz- Chita Rivera,Ensemble
Tomorrow- Andrea Mcardle
Don't Cry For Me Argentina- Patti Lupone
Come Follow The Band
Lullaby Of Broadway- Jerry Orbach
And I'm Telling You I'm Not Going- Jennifer Holliday
The Bells Of St. Sebastian- Raul Julia

Tracks:

Memory- Betty Buckley
I Am What I Am- George Hearn
Move On- Bernadette Peters,Mandy Patinkin
Do You Hear The People Sing?- Michael Maguire,Cast
The Music Of The Night- Michael Crawford
You're Nothing Without Me- James Naughton,Gregg Edelman
The American Dream- Jonathan Pryce,Cast
Doctor Jazz- Gregory Hines,Company
With One Look- Glenn Close
On Broadway- Adrian Bailey,Frederick B. Owens,Ken Ard,Victor Trent Cook
Le Jazz Hot- Julie Andrews,Ensemble
Seasons Of Love-
Hakuna Matata- Max Casella,Tom Alan Robbins,Scott Irby-Ranniar,Jason Raize
I Wanna Be A Producer- Matthew Broderick,Ensemble
Dancing Queen- Louise Plowright,Jenny Galloway
Good Morning Baltimore- Marissa Jaret Winokur
Movin' Out- Michael Cavanaugh,Band
I Go To Rio- Hugh Jackman,Company
Defying Gravity- Kristin Chenoweth,Idina Menzel

Customer Reviews:

Fabulous for any Broadway-lover.......2007-01-30

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

Top Shelf.......2007-01-04

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

TERRIFIC CD'S.......2006-03-23

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

Great Collection of Broadways greatest Songs .......2005-06-14

This Collection was perfectly made it has almost all the most famous Broadway songs on this 5 cd set. The Music is great and has Broadways greatest treasures like "Memory""People""With One Look""Give my regards Too Broadway" just to name a few of this numerous cd set with over 100 songs. This is a great buy if you like musicals or The music of Broadway

Great Compilation!.......2005-01-17

If you are a fan of the Broadway Musicals, this is a collection that you should purchase. Since I got the 5 disc set I've enjoyed listening to it. The majority of the songs are done by the original singers. The collection is priceless considering that you will have over 100 songs from popular musicals since the beginning of Broadway

The Apple Tree (1966 Original Broadway Cast)

Average customer rating:

Very good show which I hadn't heard of...
THE APPLE TREE (1966 ORIGINAL BROADWAY CAST)
I still remember these songs after 40 years
Really 2.5
Boring material that you forget very easily

The Apple Tree (1966 Original Broadway Cast)
Sheldon Harnick
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

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Spring Awakening (2006 Original Broadway Cast)
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ASIN: B0000027WD
Release Date: 1992-11-24

Tracks:

Eden Prelude
Here In Eden
Feelings
Eve
Friends
The Apple Tree (Forbidden Fruit)
Beautiful, Beautiful World
It's A Fish
Go To Sleep, Whatever You Are
What Makes Me Love Him?/Eden Postlude
The Lady Or The Tiger? Prelude/I'll Tell You a Truth/Make Way
Forbidden Love (In Gaul)
The Apple Tree (Reprise)
I've Got What You Want
Tiger, Tiger
Make Way (Reprise)/Which Door/I'll Tell You a Truth (Reprise)
Passionella Prelude
Oh, To Be A Movie Star
Gorgeous
(Who, Who, Who, Who) Who Is She?
I Know
Wealth
You Are Not Real
Passionella Postlude/Finale

Customer Reviews:

Very good show which I hadn't heard of..........2007-05-13

I was very into theatre in high school and college and thought I was up on most musicals, but had never heard of this show until recently. It's comprised of three short stories which were adapted into the musical format. The first two stories are tied together very well, although the last seems tacked on. But the songs are catchy and it's fairly easy to figure out what's happening simply by listening to the songs. There are two songs which are tied for my favoritism: "It's a Fish" from Adam and Eve and "You Are Not Real" from Passionella. Check it out.

THE APPLE TREE (1966 ORIGINAL BROADWAY CAST).......2007-04-10

IT WAS EXACTLY WHAT I WAS LOOKING FOR. I WENT TO THE REVIVAL OF THE APPLE TREE ON BROADWAY IN NEW YORK CITY AND LOVED THE SCORE BUT THERE WASN'T A SOUNDTRACK AVAILABLE SO I PURCHASED THE ORIGINAL VERSION AND I ABSOLUTELY LOVE IT!

I still remember these songs after 40 years.......2006-11-05

I saw this show on the stage when it first ran, and have never forgotten it. The key to a good Broadway show is this question: Are you humming the songs when you leave the theatre? In the case of The Apple Tree, the answer is a resounding "Yes." I have been waiting 40 years for this show to be revived, and I have tickets for the revival opening in December at the Roundabout. I hope not to be disappointed, for the trio of Barbara Harris, a very young Alan Alda, and the late Larry Blyden were terrific. The three-part concept can be jarring because just when you're getting into the story, it ends -- but just enjoy the kind of songs they just don't write anymore.

Really 2.5.......2006-07-25

SO this is another show thats actually three one acts. The first "The Diary of Adam and Eve" is the best by far. It has really cute songs and nice plot. Thats the only reason I rounded this up from 2.5 to 3 stars. The rest of the show is nothing great. "Lady and Tiger" is short and boring. And "Passionella" is exactly what it sounds like, a knock off of Cinderella. But hey, its a good show for collectors and "The Diary of Adam and Eve" is nice. Favorite Song: "Its A Fish"

Boring material that you forget very easily.......2006-06-29

According to some reviews, this musical was supposed to be very good and I bought it. Unfortunately, I was quite dissapointed. It's composed of three different tales, the first one referring to the Adam & Eve biblical story. The lyrics here are very silly and tedious. The second tale, "The Lady or the Tiger?" contains songs that are simply awful, probably the worst ever written for a Broadway show. The third story, "Passionella", contains music that does nothing to make things better. The album contains a good informative booklet in English, German, French & Italian (as Sony uses to do)which says that Time magazine defined this show as "three moldy figs". I entirely agree. I would recommend this musical to those suffering from insomnia: it will put them to sleep right away.

Average customer rating:

you cant beat an Ira lyric.
A Wonderful CD
Quiet and elegant
Disappointed
they can't take that album away from me

Pure Gershwin
Michael Feinstein
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Isn't It Romantic
Nice Work If You Can Get It: Songs by the Gershwins
Remember: Michael Feinstein Sings Irving Berlin
Michael & George (Feinstein Sings Gershwin)
Romance on Film/Romance on Broadway

ASIN: B000002H4W
Release Date: 1990-10-25

Tracks:

S' Wonderful
Our Love Is Here To Stay
Liza
The World Is Mine
They Can't Take That Away From Me
Isn't It A Pity?
Let's Call The Whole Thing Off
Embraceable You
What Causes That?
He Loves And She Loves/How Long Has This Been Going On
They All Laughed
The Girl I Love
Someone To Watch Over Me

Amazon.com

Pure Gershwin was Michael Feinstein's first album, and it remains one of his best. It may not have the production values of his later Gershwin tributes, Nice Work if You Can Get It (1996) and Michael & George (1998), but it simply and directly presents Feinstein in his piano-bar days, singing to his own tasteful accompaniments with occasional contributions from bass and drums and a second piano. Establishing the patterns for his later albums, he sings unjustly neglected verses to familiar songs, uncovers some never-before-recorded gems ("The World Is Mine," "What Causes That"), and provides song-by-song notes. Longtime friend Rosemary Clooney guests on "Isn't It a Pity?" --David Horiuchi

Customer Reviews:

you cant beat an Ira lyric........2007-01-05

this is good...and just to hear a REALLY GREAT "Isn't A Pity" duet with Rosie is well worth the price of admission. I REPEAT: just to hear a REALLY GREAT "Isn't A Pity" duet with Rosie is well worth the price of admission. listen & enjoy some great american music. you cant beat an Ira lyric.

A Wonderful CD.......2005-05-19

PURE GERSHWIN is just that, pure!. Feinstein interprets Gershwin the way it was meant to be performed. This is pure delight!

Quiet and elegant.......2003-04-20

Michael Feinstein's thin voice is compensated by his apparent enthusiasm for the material and a spare arrangement of piano, bass, and drum that gives this recording the ambiance of an intimate piano bar. Before hearing this disc, I knew only Gershwin's biggest hits, so many of the numbers here were new to me and increase my appreciation of that great American composer.

Disappointed.......2003-04-10

I bought this cd because I am a huge Gershwin enthusiast and am always on the lookout for versions of one of my favorite pieces, "Liza". I'd heard a lot of buzz about Feinstein and the supposed wonderfulness of his Gershwin interpretations, so I thought I would give this album a shot.

I was extremely disappointed. Feinstein seems to suck the life out of Gershwin's compositions, a feat I would have previously thought impossible. Though I concede that vocalists are free to reinterpret songs (many to a great success, as in Louis Armstrong's and Ella Fitzgerals's enjoyable versions of Gershwin), I think Feinstein's lazy tempos "loungy" voice make the tracks on this album boring and annoying.

I have loved to listen to and sing these songs my entire life. I just wanted to warn listeners who perhaps, like myself, enjoy George Gershwin's music for its beautiful clarity and energy (as easily experienced through Gershwin's own recordings, early interpretations by artists such as the Astaires, and even recent broadway "Crazy For You") that they will not experience any feeling of the sort from Michael Feinstein.

Amidst all the gushing that has recently been done over him, I found Michael Feinstein to have attempted to murder "Liza" and the other songs on this album. He merely displays a very unexceptional voice and poor interpretive taste. Fans beware, Feinstein proves that it is possible to make a bad cd of Gershwin songs. I'd recommend listening elsewhere.

they can't take that album away from me.......2002-05-09

they say the third time's a charm, but in this instance, it is the first time -- michael feinstein's first gershwin album -- that is the charm. this album is by far better and more listenable than the next two -- "feinstein sings gershwin" and "nice work if you can get it".

the listenability of this album may stem from the fact that it is a bare-bones arrangement, with two pianos, a bass and drums, a la a jazz trio, with no embellishment, so michael feinstein's then sincere and unsophisticated voice is the featured instrument.

i heartily recommend this album, as every song on it is a gem and feinstein's voice is more appealing than on the two later albums, when he jazzed it up with what sounds like an echo chamber and other electronic enhancements and he seems to be doing the songs by the numbers.

feinstein's version of "liza," slowed down to ballad form and plaintively phrased, is the best i have ever heard. the duet with rosemary clooney on "isn't it a pity," again brings out the best of feinstein's then-new voice and shows why george's (clooney) aunt is rightfully considered a jazz legend.

the combined "he loves and she loves/how long has this been going on" is another melodic/poignant highlight, while the album's finale, "someone to watch over me," is a stirring anthem to wanting and needing someone and is done with vocal and instrumental passion; it brings this collection of songs to a fitting crescendo.

for a lawyer's kid from columbus, ohio who started out cataloguing gershwin estate material for the reclusive ira and then began singing the songs for family and friends, michael feinstein has done all right for himself. he has become the recognized interpreter of the gershwin legacy, sort of the same way his pseudo-cousin, john, jr. feinstein, has become the recognized interpreter of the bob knight legacy... .

michael feinstein may have hit a home run his first time up with this album, and it may be his best, as it is the purest and most joyful celebration of gershwin tunes, while the others are fancier, more jazzed up and ponderous and less appealing.

the other albums are certainly not bad, though, and i recommend buying them to fill out a feinstein or gershwin collection, but this one is by far the best one to get if you are only going to get one as a sample of either's work. it is nice work, and you can get it.

Spirituals in Concert
Average customer rating:

"Lord, How Come Me Here"

WOW!

uhm......yeah right!!

scadalise my name

Broadway takes on the spiritual ...

Spirituals in Concert

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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The Best of Kathleen Battle

ASIN: B000001GDC
Release Date: 1991-03-08

Tracks:

In That Great Getting Up Morning
Sinner, Please Don't Let This Harvest Pass
Over My Head/ Lil' David
Oh, What A Beautiful City
Lord, How Come Me Here
I Believe I'll Go Back Home-Lordy, Won't You Help Me
Ride On, King Jesus
Swing Low, Sweet Chariot-Ride Up In The Chariot
You Can Tell The World
Scandalize My Name
Great Day
Oh, Glory
Calvary-They Crucified My Lord
Talk About A Child
Gospel Train
My God Is So High
There Is A Balm In Gilead
He's Got The Whole World In His Hand

Customer Reviews:

"Lord, How Come Me Here".......2007-06-18

I must add, to the praises above, that Kathleen Battle's "Lord, How Come Me Here" is the best "quick" explanation of the long-lasting effects of slavery that I can think of. The line, "They sold my children away," says it all.

And the VERY funny "Scandelize My Name" is also worth the price of the total album!

Alinde O'Malley

WOW!.......2007-03-22

You know, after owning both the CD and VHS of this performance, and having been coached by Sylvia Olden Lee herself, it is no wonder why spiritual mean so much to me. And these two ladies bare their souls and bring these masterpieces to life! WOW!!!

uhm......yeah right!!.......2006-06-21

Clearly you are mistaken. I don't know who that guy is-the person below recommended-but there is NO COMPARISON to JESSYE NORMAN AND KATHLEEN BATTLE!!!! Jessye Norman herself has *30* HONARY DOCTRATES from places like Harvard, Juliard, Yale, Cambridge....I mean HELLO!!!! That guy had no where near the ease, the musicality or even the breath support as these two veterans show!! It is a beautiful CD though it came out in 1991 and I HIGHLY recommend it.

scadalise my name.......2004-10-29

this isn't that good specially after hearing William Warfeild sing it. You can find him at www.wlym.com

Broadway takes on the spiritual ..........2004-01-29

... takes it on and puts it on the canvas by the end of the first round.

I'm going to be the dissenting voice here: thank goodness I signed this disk out of the public library 'cause I'm sure not going to listen to it twice.

There is nothing wrong with the performances. Jessye Norman and Kathleen Battle sing beautifully, and there's no problem with the pick-up orchestra under James Levine.

The problem, and it's huge, is the conception of the show and the musical arrangements. To make the video marketable, I suppose, the producers decided that the concert had to be big: big names, big arrangements, big effects. So we have eighteen spirituals given the musical theatre treatment, with a philharmonic chorus providing chain-gang sound effects, big brass, and big percussion -- including a chinese gong. A chinese gong in a spiritual??? Spare me! Almost every track turns out sounding like either a curtain-raiser or a big, end-of-act production number with cute and predictable modulations between some of the stanzas and the sort of curly-cue orchestral ornamentation typical of Broadway shows.

And you know what? It all kills the spirituals stone dead. The spiritual is one of those musical forms where less is more and very little is best of all. That's how they started, after all. That's how and why they worked for their original audiences, and that's why they were powerful enough to make the transition from folk song to art song. If you want to hear Battle sing spirituals that are irresistible, listen to the set on her Salzburg recital CD, also with Levine (ASIN B00000E31B). There, the music speaks for itself and speaks with a strength and a beauty that the tracks on this disk never approach.

Andrew Lloyd Webber: The Premiere Collection Encore
Average customer rating:

What happened to the Original Recording ?

Premier Collection a hit

It is a great CD.

Problem

Okay

Andrew Lloyd Webber: The Premiere Collection Encore
Andrew Lloyd Webber , Royal Philharmonic Orchestra , Trevor Nunn , Sarah Brightman , Jose Carreras , Michael Ball , Barbra Streisand , Lon Satton , and Ray Shell
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Andrew Lloyd Webber: The Premiere Collection Encore

The Andrew Lloyd Webber Collection

ASIN: B000001E0E
Release Date: 1993-03-09

Tracks:

Amigos Para Siempre ( Friends For Life) - Jose Carreras, Sarah Brightman
Love Changes Everything - Michael Ball
Memory - Barbara Streisand
I Am The Starlight - Lon Satton, Ray Shell
Wishing You Were Somehow Here Again - Sarah Brightman
Argentine Melody - San Jose, Rodriguez Argentina
Oh What A Circus - David Essex
Seeing Is Believing - Michael Ball, Ann Crumb
The Jellicle Ball - The Royal Philharmonic Orchestra
Any Dream Will Do - Jason Donovan
Everything's Alright - Sarah Brightman
Close Every Door - Phillip Schofield
The First Man You Remember - Michael Ball, Diana Morrison
Anything But Lonely - Sarah Brightman
Point Of No Return - Michael Crawford, Sarah Brightman
Hosanna - Placido Domingo

Customer Reviews:

What happened to the Original Recording ?.......2007-07-25

I have the original 1988 tape but wanted to get it now on CD
for many reasons: TAKE THAT LOOK OFF YOUR FACE (Martie Webb)( ALL I ASK OF YOU (Cliff Richard & Sarah Brightman) THE MAGICAL MR MISTOFFELLEES (Paul Nicholas) VARIATIONS (Julian Lloyd Webber) MNEMORY (Elaine Paige - how could Barbara Streisand possibly render this any better) TELL ME ON A SUNDAY (Marti Webb), ANOTHER SUITCASE IN ANOTHER HALL (Barbara Dickson)
What a huge disappointment that these marvellous renditions have not been transferred to CD. Does anyone know why, or better still how I can get a copy.

Premier Collection a hit.......2006-05-10

Loved this c.d.
Streisand's rendition of MEMORY has always been my favorite version of the song outside of the show...Betty Buckley's is my favorite within the show. I am a Streisand afficiando, and this is my FAVORITE Streisand song period..so it must be good...
Michael Ball singing anything is wonderful...It captures the wonderful feeling of being on a cloud when you listen to this album

It is a great CD........2005-10-14

Whenever I listen to this CD, my heart and my soul are deeply touched.

Problem.......2003-11-02

Has no one else noticed that on the version of this CD produced in Scarborough, Ontario, Canada "Past the Point of No Return" from "The Phantom of the Opera" is NOT Michael Crawford and Sarah Brightman? The male is obviously Colm Wilkenson (most famous for originating the role of Jean Valjean), apparently the soprano is Rebecca Caine?

Okay.......2003-04-17

If you are an Andrew Lloyd Webber fan, you probably already own some of the versions of songs on this CD. Having them all in one package is nice. I like to listen to this at work, as I know the music so well that it is nice background. I could do without Amigos Para Siempre.

Average customer rating:

Generally, a pleasant surprise
Very pretty!

The Broadway I Love

Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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The Domingo Songbook
Perhaps Love
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Be My Love

ASIN: B000002ISY
Release Date: 1991-11-08

Tracks:

The Fantasticks: Try To Remember
South Pacific: Younger Than Springtime
Miss Saigon: The Last Night Of The World
Very Warm For May: All The Things You Are
Stop The World - I Want To Get Off: What Kind Of Fool Am I?
Oklahoma!: Oh, What A Beautiful Mornin'
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Kiss Me Kate: So In Love
A Little Night Music: Send In The Clowns
West Side Story: Tonight
Phantom Of The Opera: All I Ask of You
The Goldwyn Follies: Love Is Here To Stay
George M!: Over There
Carousel: You'll Never Walk Alone

Amazon.com

Placido Domingo's blazing tenor enriches these traditional Broadway show stoppers, supported by mammoth orchestrations in perfect balance and enhanced by his trademark musicianship and intelligence. In "All I Ask Of You," he excitingly explodes like a bursting water balloon. His duet with Carly Simon ("Last Night of the World") works in an intergalactic way--music makers from separate planets can successfully collaborate. In "Send In the Clowns," we are reminded of the tune's prettiness; while others find a poignantly delicate moment, Domingo's personal revelation is the size of Mt. Olympus. And why not? He is a god of song. An exception is made for "Our Love is Here to Stay," winner of the most-likely-to-appear-in-an-elevator award. Overall, a dazzling music experience. --Barbara Eisner Bayer

Customer Reviews:

Generally, a pleasant surprise.......2003-01-19

This is a compilation of lovely Broadway songs, beautifully sung. I liked most of the selections in every way--singing, orchestration, etc. I found the piece from "Miss Saigon" ("The Last Night in the World"), with a moving duet with Domingo and Carly Simon, to be astonishingly beautiful. I was surprised that these two could collaborate so well reminiscent of Mary Martin and Ezio Pinza), I have enjoyed repetitive listening of this track. The only downer, in my view, was "Over There." Sad to say, Placido does not do justice to George M. Cohan. For reasons I don't completely understand, he substitutes "The boys are coming" for the very triumphant "The Yanks are coming" line, which is the heart of the song. Toss this ridiculous mistake out, maybe a fifth star.

Very pretty!.......2001-01-14

I found this one in my library system and checked it out because of "So In Love" -- and quickly fell in love with the rest of it! There are classically trained opera singers who cannot pull off singing Broadway, but Domingo is not one of them. Granted, the idea of hearing "Oh, What A Beautiful Mornin'" sung with an Italian accent seems a little strange, since everyone knows that a cowboy is supposed to be singing it, but I think Domingo's accent adds to the charm of the songs.

I only gave this album four stars because I didn't care for the arrangements of the songs from "West Side Story" and also because the combination of Domingo and Carly Simon seemed mismatched. The duet with Rebecca Luker, however, in "All I Ask Of You," is what I would consider the highlight of the CD. Their voices blend so well and they have the same classic style. Ted Huffman's boy soprano adds a lot to "Try To Remember," enhancing the soaring prettiness of the melody. The arrangement of "Send In The Clowns" is a masterpiece, while Domingo sings it with convincing sadness. Also his portrayal of "Our Love Is Here To Stay" has the gentle simplicity that I believe the Gershwins meant for it.

Tracks:

Summertime
I loves you, Porgy
Porgi amor
Welche Wonne, welche Lust
S'altro che lagrime
Una donna a quindici anni
Depuis le jour
E pur cosi / Piangeri la sorte mia
Oui! pour ce soir... Je suis Titania
Ah! tardai troppo... O luce di quest'anima
4. Pie Jesu (Sopran)
Voices of Spring, Op.410 (Frohlingsstimmen) - vocal version
Swing Low, Sweet Chariot / Ride Up in the Chariot
Witness "Oh, Lord, what manner of man is dis?"
Talk About a Child
He's got the whole world in His hands

Customer Reviews:

Kathy Rocks Ever!.......2006-01-01

Oh,yeah!Also here in Brazil she commanded,complained,got her tantrums as well but,she is Kathy;highly gifted,charmingly glamourous,her elegant golden singing beautifully soaring over brazilian audiences and so on.About this cd,I would prefer a completely new one.However,this is a gorgeous compilation,just perfect to Battle beginners or her fans,especially these spirituals that belongs incontestablely to her heavenly throat.I hope much more from Miss Battle just 'cause she is a great performer,in fact nobody or nothing couldn't denies that no matter she's doing backstage.Cowardly,poisonous "kid's rewiews" show us solely how empty is this quarrel.I hope a DG reissue of her beloved,out of print Schubert recital as well.

A wide presentation of the work of an amazing artist.......2005-12-23

This CD provides a sampling of Kathleen Battle's voice and interpretive abilities from coloratura virtuousity (Voices of Spring) to the simple, heartfelt spiritual (Talk about a child).

First of all, there's THAT voice. You hear a voice that is uniquely angelic and capable of expressing a wide range of moods. You hear a voice that glitters like a diamond, skips happily and effortlessly (and in impeccable tune) from note to note like it's nobody's business, one that that reminds you of moonbeams and early morning dew on pink rose petals. You've simply got to her it to believe it.

On this CD, the listener is provided with the the works/composers for which she's well known: Handel Opera (E pur cosi / piangero la sorte mia), Mozart Opera (S'altro che lagrime), Bel Canto Opera (Ah, tardai troppo...), French Opera (Depuis le jour), spirituals, and a few popular songs for sopranos such as Gershwin's Summertime and Faure's Pie Jesu

If you're just popping the CD in, try: (1) Ah, tardai troppo, (2) Voices of Spring, (3) Talk about a child, (4) I loves you, Porgy, and (5) Pie Jesu.

I suppose if you are a fan of heavy, dramatic voices, Kathleen Battle may not be to your liking. But I suspect that if you listen to her, you still might be amazed...

A Great Coloratura Soprano .......2005-04-03

Coloratura sopranos are a dying breed today. The era of Lily Pons and Beverly Sills is long gone and opera audiences favor a more "heavy" coloratura sound- or at least a full lyric one, such as the voice types of Kiri Te Kenawa, Carol Vanness and Renee Fleming. Kathleen Battle was in many ways an artist who payed homage to the coloratura queens of olden days. Only Natalie Dessay, of late, represents that kind of singer. much This album showcases her best work, and she is in fine voice, bringing a luminous and sunny quality to her interpretations, while keeping the dramatic appeal of the text. She was at best a Handel/Mozart/Strauss/Gounod singer, and never fared well in the more dramatic reperotoire of Verdi or Puccini heroines. She never sang Madame Butterfly, which if she had gone through training, she could have nailed, especially because her dramatic aspirations coupled with her soft, vulnerable sound would have suited her as Ciao Ciao San, in the way that Ying Huang interpreted the role. Verdi opera must have frightened her and she could never dream of taking on the roles that Leontyne Price performed, surely an influence in her student days made all the more credible because Leontyne Price was a "sister" African-American. So Leonora, Aida and Suor Angelica were out of her reach. While she sang with Jessie Norman in concert and recitals (like the Spirituals Concert), she must have been secretly or overtly ? jealous of the fact that Jessye Norman had a voice that could swallow the world!! A big, beautiful voice such as Ms. Norman's is closer to the true goddesses of operas in the tradition of Maria Callas, while Battle is more of the "tiny, bright, canary" voice. She ranks among the best of the lighter sopranos- Beverly Sills, and like Sumi Jo today. Her fellow co-artists used to call her the "Singing Mosquito". But she is marvelous in singing Handel oratorio(the only times I've heard her sing live), Mozart- Sussannah, Zerlina, the Countess in Figaro, Gounod- Juliette, Bizet- Micaela, but could never truly master the more difficult Mozart heroines- Dona Ana in Don Giovanni or Fiordiligi in Cosi Fan Tutte or even Konstanza in Die Entfurung, though try she did. In Strauss operas, she made a fine Zerbinetta, though she always oozed a confidence that made it seem as if these difficult pieces were a piece of cake for her. Some arias in this collection appear that way too.

Kathleen Battle has long since disappeared from the opera world, singing off and on. Her last singing engagement was for the soundtrack to the Japanese action saga "House of Flying Daggers" in which she sings in a very Japanese/poetic style. Before that she sang in Mythodea opposite Jessie Norman in a massive choral work by Vangelis, and also in Disney's Fantasia 2000. Her constant bitchiness, diva antics and disrespect to conductors and singers became too much and finally Joseph Volpe fired her from the Met. She had stayed there for so long because James Levine took a shine to her. As a singer, she was a perfectionist and in her body of work it shows. But she displayed a nasty diva temperament that does not sit well today. In the 80's, she would come to rehearsals late, would criticize everyone from conductor to costuma makers and even once disrespected the much older and experienced Rosalind Elias, a beloved mezzo at the Met. While I think that Volpe did the right thin in firing Battle, I think that Battle's voice is glorious and would buy her albums, even if she mostly poses as if she were in Vogue cover shots.

Great compilation of Kathleen Battle's work.......2005-03-26

This is a great compilation CD of recordings made by Battle, which are currently deleted by Universal Music.
The selections are first rate and capture the artistry of Kathleen Battle perfectly, a shimmering, silvery, clean and clear voice which has captivated millions of people worldwide

Beautiful Voice.......2005-02-24

I find it hard to give anything under 5 stars for any work including Miss Battle. Her technique and mastery of the female voice is quite remarkable. I am a HUGE fan of the soprano voice and I have found no one who posses the talents, skills, and interpretations of Battle. I would like to have seen more variety in this compilation CD. Her Rosina, Zerbinetta, Semele, other such roles were obviously ignored in the making of this CD. I think anyone will be hard pressed to find any lyric/coloratura soprano who amounts to the skill level of Miss Battle. Talent is talent, and she's got plenty of it. A person's attitude has nothing to do with their abilities as a performer, and I am tired of people knocking Miss Battle because of the stigma with which she is attached. Personally, she has never done anything to me nor the number of others who criticize her for her actions which took place over a decade ago. You cannot say that this woman does not posses mad skills. She is a lovely woman who has accomplished great things. I would gladly buy any CD that carries the name "Kathleen Battle".

Average customer rating:

An opera that deserves consideration by a major company
Soaring majesty!
a favorite opera with an old and inconsistent performance

Robert Ward: The Crucible

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Floyd: Of Mice and Men
Zwilich: Symphony No. 1 / Celebration / Prologue & Variations
Dominick Argento: From the Diary of Virginia Woolf
Melinda Wagner: Concerto for Flute, Strings, and Percussion; Poul Ruders: Concerto in Pieces (Purcell Variations)
Notturno: Music by Donald Martino

ASIN: B0000049L5
Release Date: 2006-10-24

Tracks:

Act l: Beginning - Gloria Wynder/Joyce Ebert/Patricia Brooks/Naomi Farr/Paul Ukena/Maurice Stern
Act l: 'Gently, Sirs, Gently' - Eunice Alberts/Paul Ukena/Chester Ludgin/Maurice Stern/Spiro Malas/Joyce Ebert
Act l: 'Jesus, My Consolation' - Eunice Alberts/Paul Ukena/Chester Ludgin/Maurice Stern/Joyce Ebert/Patricia Brooks
Act l: 'For Much In the World' - Joyce Ebert.John Macurdy/Naomi Farr/Eunice Alberts/Patricia Brooks/Gloria Wynder/Spiro Malas...
Act l: 'Oh, How Many Times Mr. Parris' - Gloria Wynder/Naomi Farr/John Macurdy
Act l: 'Jesus, My Consolation' - Gloria Wynder/Naomi Farr/John Macurdy/Patricia Brooks
Act II: Beginning - Frances Bible/Chester Ludgin
Act II: 'I've Forgotten Abigail' - Chester Ludgin/Frances Bible
Act II: 'But, Oh, The Dreams' - Frances Bible/Chester Ludgin/Nancy Foster
Act II: 'For Sarah Good Confessed' - Nancy Foster/Chester Ludgin/Frances Bible/John Macurdy/Richard Krause
Act II: 'You Will Go To That Court' - Chester Ludgin/Nancy Foster

Tracks:

Act III: Beginning - Patricia Brooks/Chester Ludgin
Act III: In The Courtroom - Richard Krause
Act III: 'Open Thou, My Lips, O Lord' - Jack DeLon/Richard Krause/Paul Ukena/Maurice Stern/Joyce Ebert
Act III: 'These Girls Never Saw A Spirit' - Chester Ludgin/Joyce Ebert/Paul Ukena/Nancy Foster/Patricia Brooks/Jack DeLon/New York City Opr...
Act III: 'No, No, It Is A Natural Lie To Tell' - John Macurdy/Jack DeLon/Patricia Brooks/Nancy Foster
Act IV: Beginning - Gloria Wynder//Richard Krause/Patricia Brooks
Act IV: 'But Sir, You Stir Rebellion' - John Macurdy/Jack DeLon/Joyce Ebert/Frances Bible
Act IV: 'What Word Of The Children - Chester Ludgin/Frances Bible/John Macurdy/Joyce Ebert/Paul Ukena/Jack DeLon/Eunice Alberts
Act IV: 'God Does Not Need My Name' - Chester Ludgin/Jack DeLon/Joyce Ebert/John MacurdyEurnice Alberts/Frances Bible.

Customer Reviews:

An opera that deserves consideration by a major company.......2003-10-04

I became familiar with this recording of the "The Crucible" back in the 60's when it was available on the old CRI label. It was an exciting piece then and it remains one now. It has been a puzzle to me why such an opera has not been taken up and presented regularly by major companies. The music is appealing--and frequently more than that; the drama is potent and never fails to captivate; it offers wonderful opportunites to a cast of singing actors. So what's the problem?! Granted some of the liberties taken with the Arthur Miller text render certain moments dramatically unclear and the Gershwinesque strains that accompany the slave Tituba's character are certainly a mistake. Still, the work as a whole is an exciting one. Hightlights abound, with the whole of the last act being especially moving.

This is still the only recording available and, overall, it is excellent. The leads perfectly embody the roles of John and Elizabeth Proctor, while the balance of the cast, a few vocal duds notwithstanding, competently fill in the many character roles.

The CD sound is very good and far superior to my old vinyl disks.

If you've never heard "The Crucible," give this recording a chance. It is well worth your time.

Soaring majesty!.......2001-12-19

This performance is a gem. Just the soaring majesty of Frances Bible is well worth the experience. What a sadly underrated artist. The final duet with Bible and Ludgin is a lesson in passionate, searing drama and full-out singing.

a favorite opera with an old and inconsistent performance.......1999-03-23

I had the privilege of being part of a cast of this opera at Indiana University of Pennsylvania in the late 70's, directed by the avuncular Herbert Wildeboor (since deceased). I've always loved the 7/8 hymn at the end of the first act. However, this performance is very uneven, including generally unfortunate singing by female leads, and bad acting (at least) by the person singing Reverend Parris. Reverend Hale and John Proctor are consistently good. And the orchestra parts, very demanding, are well handled. It astounds me that there is no new recording in all these years. I've since seen it done in Pittsburgh and know it's being done somewhere on the West Coast. While Mr. Ward's music is considered cliche by some, I prefer it much to, for example, Moore's Ballad of Baby Doe. Perhaps my affection for it is due to having the opportunity to perform it.

(Not) Your Standard Spike Jones Collection

Average customer rating:

Great set of wartime rarities
Cure for the Blues
Standard Transcription Collection

(Not) Your Standard Spike Jones Collection
Spike Jones
Manufacturer: Collector's Choice
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

General | Miscellaneous | Styles | Music

General | Comedy | Miscellaneous | Styles | Music

Contemporary Comedy | Comedy | Miscellaneous | Styles | Music

Strictly for Music Lovers
Spike Jones - Greatest Hits
Fonk
Spiked!: The Music of Spike Jones
The Spike Jones Story

ASIN: B00007JR3K
Release Date: 2003-04-08

Album Description

Holiday blues comin' on? Well, put a spike in `em! Here's the zaniest, wildest and just plain sickest Collectors' Choice Music exclusive yet—79 tracks from Spike Jones and his City Slickers! These represent Spike's complete Standard Transcription sides, but these tunes are anything but standard; Mr. Jones brought his full bag of tricks for these non-commercial recordings (made in Hollywood during the early `40s). Add to that the fact that most of these have never been on CD or even LP, and any lover of Spike's mayhem-filled mixture of laughs and hot licks is going to flip over this set! Notes and great pictures accompany this 3-CD walk on the wacky side from the greatest novelty band of all time.

Customer Reviews:

Great set of wartime rarities.......2003-05-14

Spike Jones was the king of the novelty song performers, with hits like "Der Fuehrer's Face" and the parody version of "Sheik of Araby" becoming huge hits during World War II. This is a swell 3-CD set, gathering a full eighty-one of Jones' best tracks from his 1940s heyday, drawn from an extensive archive of radio broadcasts made for the Standard Transcription service. The tightness of his City Slickers band is amply demonstrated in these manic, kookily orchestrated performances. Toots, squonks, blatts and bleats whiz by at lightning speed, as one daffy song after another will delight devoted fans. Amazingly, Jones had the unusual, almost unique ability to perform a repertoire almost entirely made up of comedic material, and yet still be quite listenable and engaging. His jazz chops were hardly in question, and from time to time Jones would dash off a non-novelty ballad or two, just to give the rubes something to think about. Of course, just as often he would perform a song that *sounded* like a straight ballad, but would turn out to be another goof. (One great example of this is the sultry "Serenade To A Jerk," sung in slinky, burlesque tones by Myrtle Horwin.) This collection may seem a little overwhelming, but like his studio recordings, these radio performances have a certain brilliance and joie de vivre about them that will leave you enchanted. Definitely worth checking out!

Cure for the Blues.......2003-04-25

Here's the zaniest, wildest and just plain sickest Collectors' Choice Music exclusive yet-79 tracks from Spike Jones and his City Slickers! These represent Spike's complete Standard Transcription sides, but these tunes are anything but standard; Mr. Jones brought his full bag of tricks for these non-commercial recordings (made in Hollywood during the early `40s). Add to that the fact that most of these have never been on CD or even LP, and any lover of Spike's mayhem-filled mixture of laughs and hot licks is going to flip over this set! Notes and great pictures accompany this 3-CD walk on the wacky side from the greatest novelty band of all time.

Standard Transcription Collection.......2003-04-12

This collection has remastered material from the large stack of Standard Transcription discs from the early 1940's. There are many songs not recorded on RCA, many on the theme of wartime ("48 Reasons Why"), and the quality is excellent. The packaging is threadbare but this is an essential CD package for true music lovers.

Music Review:

Music Review

music review

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