Further In

Further In

Track Listings

1. Small Dark Movie

2. Think About You

3. Two Little Feet

4. Hey Baby Hey

5. China

6. Where Is Maria

7. If You Don't Get It at Home

8. You Can Always Come to Me

9. Someday When We're Both Alone

10. Not High

11. Further In

12. If I Ever Do See You Again

Editorial Reviews
Amazon.com
Greg Brown might be one of America's most underrated national treasures. The singer-songwriter from Iowa has penned so many good songs over the course of his career, simply going from strength to strength. And Further In might be the best yet, as spare as a Japanese garden, illuminated by small touches, like the slide work on "China." At his darkest, Brown can conjure deep shadows, and he does on "Small Dark Movie," but he's also more than capable of relieving any traces of gloom ("Hey Baby Hey"). --Chris Nickson

Further In,Greg Brown,Red House,Country & Western,Country-Folk,Folk & Traditional,Pop,Singer/Songwriter

An Introduction to Der Ring des Nibelungen
Average customer rating:

Ring introduction critique

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE

Welcome back to a classic analysis

Essential for Understanding Wagner's Ring Cycle

Very Functional

An Introduction to Der Ring des Nibelungen
Deryck Cooke , Georg Solti , Wiener Philharmoniker , Anita Valkki , Berit Lindholm , Birgit Nilsson , Brigitte Fassbaender , Christa Ludwig , Claire Watson , Claudia Hellmann , Dame Gwyneth Jones , Dietrich Fischer-Dieskau , Eberhard Wächter , George London , Gerhard Stolze , Gottlob Frick , Grace Hoffmann , Gustav Neidlinger , Hans Hotter , Helen Watts , Helga Dernesch , Hetty Plumacher , Ira Malaniuk , James King , Jean Madeira , Joan Sutherland , Kirsten Flagstad , Kurt Böhme , Lucia Popp , Marga Höffgen , Marilyn Tyler , Maureen Guy , Oda Balsborg , Paul Kuen , Régine Crespin , Set Svanholm , Vera Little , Vera Schlosser , Waldemar Kmentt , Walter Kreppel , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Wagner's Ring: Turning the Sky Round

Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Decoding Wagner: An Invitation to His World of Music Drama (includes 2 CDs)

Wagner - Der Ring des Nibelungen / Levine, Metropolitan Opera (Complete Ring Cycle)

Ring of the Nibelung

ASIN: B00000424H
Release Date: 2005-09-13

Tracks:

Of All Great Musical Compositions... (Examples 1-4)
The Fundamental Symbol... (Examples 5-11)
Returning Now To The Nature Motive... (Examples 6, 12-16)
A Number Of Further Motives... (Examples 5, 17-21)
A Second, Much Smaller Family... (Examples 22-25)
So Much For Nature. (Examples 26-38)
The Cause Of The Deterioration... (Examples 39-44)
The Other Transformation... (Examples 45-48)
Several Other Motives... (Examples 49-52)
Two Further Motives... (Examples 41, 53-61)
The Basic Motive Associated With The Spear... (Examples 62-68)
Along Another, More Complex Line... (Examples 69-72)
In Act Two Of Walkure... (Examples 69, 73-75)
Returning Now To Act Two Of Walkure... (Examples 76-79)
Love Is Another Of The Central Symbols... (Examples 80-83)
Later In The Same Scene... (Examples 84-87)
Freia's Motive Has Two Independent Segments... (Examples 88-91)
The Label 'Flight'... (Example 92)
When Fasolt, In Scene Two Of Rhinegold... (Examples 93-98)
A Little Later In The Interlude... (Examples 99-103)

Tracks:

The Other New Motive... (Examples 104-109)
There Are Several Independent Love-Motives... (Examples 110-114)
The Characters In Whose Lives... (Examples 115-120)
One Further Motive Belongs... (Example 121)
The Sword Motive Recurs... (Examples 122-130)
Ironically, This Phrase... (Examples 131-135)
Closely Associated With Gutrune's Motive... (Examples 136-140)
Here We Come To The End... (Examples 141-146)
Complemtary To This Symbol... (Examples 147-149)
One Last Central Symbol... (Examples 150-157)
One Further Motive Connected... (Examples 158-161)
There Are One Or Two Motives... (Examples 162-168)
These Motives Of Alberich And Mime... (Examples 169-171)
Quite A Number Of The Subsidiary Motives... (Examples 172-176)
Besides This Family Of Motives... (Examples 177-180)
Our Final Example... (Examples 10, 181, 182)
In The Final Scene Of Gotterdammerung... (Examples 181-183)
Even More Masterly... (Examples 184-188)
Now If We Return... (Examples 189-191)
This Masterly Way... (Examples 192, 193)

Amazon.com

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Customer Reviews:

Ring introduction critique.......2006-11-04

This is very worthwhile, at the same time it requires time, patience and attention, but it does provide some keys to better enjoyment of a sensational piece of music.

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE.......2006-08-16

This may look an intimidating, daunting and dull prospect - a 2+ hour lecture on the motifs in the Ring. Don't be put off. Whether you're a relative novice to the Ring and want to find out what it's all about, more experienced with a desire to understand the composer's methods better or an afficionado who thinks he knows it all inside out, there is great pleasure as well as elucidation to be had from this set. Originally made to accompany the Decca Solti Ring, it contains a multitude of musical illustrations taken from those recordings as well as some specially recorded by Solti just for this Introduction.

It wasn't the first time this has been tried. The famous HMV sets from the late 20's also included recorded examples of over 100 motifs. (These, by the way, are available as part of the Pearl reissue of those wonderful HMV recordings). What that set lacked was the wonderful insights as well as the approachability of the talk by Deryck Cooke. Cooke was a great and much missed musicologist - a Mahler expert responsible for the performing edition of the Tenth Symphony still most played today, a fascinating explorer into the nature of music's basic building-blocks in his excellent book, The Language of Music, and an inspiring and elucidating critic of Wagner's work as shown by the fascinating book he left unfinished at his death, I Saw the World End.

On these CDs he does much more than list the leitmotifs and identify them as calling-cards. He shows the amazingly integrated and organic growth of the musical material that Wagner uses throughout his vast work. He demonstrates how motifs can change their sense and meaning as they evolve through the drama. And he shows how the complex combinations of motifs can radically advance both the musical and the dramatic narrative of the piece. There are even places where he corrects the misinterpretation of some of the motifs that had become ingrained from early commentators' false labels.

This set should engage and enlighten anyone with an interest in Wagner's huge and inexhaustible tetralogy. Do give it a try - no matter how far down the road to Wagnerianism you are.

Welcome back to a classic analysis.......2006-05-28

Deryck Cooke's lecture series upon THE RING is almost as much a classic by now as the Solti RING cycle, with which it was originally issued on LP, and from which it derives its musical examples. The difference is that whereas the Solti RING has been continuously in print ever since it was completed, and was among the first opera sets to benefit from the CD revolution, the Cooke analysis was for long almost totally unobtainable. Now we have it back. It should be welcomed: it is a classic. Cooke's mellow, deep voice with the hint of a Celtic burr - which made him ideal on BBC radio - patiently explains Wagner's melodic, rhythmic, and harmonic metamorphoses to such good effect that if you own this recording, you really require no other RING analysis. (A pity about the abrupt beginnings and endings of too many vocal and orchestral illustrations, though.) Musicology lost a fine, sensitive thinker with Cooke's premature death in 1976.

If all you want is dilettantish baby food, there are plenty of dumbed-down Wagner commentaries on the market, stretching from Anna Russell's famous monologue (which doesn't pretend to be anything other than a parody aimed at morons) to the latest standard-issue "Wagner-was-a-Nazi-boo-hiss" feuilleton (which, unfortunately, does). Without reasonable score-reading skill you will find Cooke useless, however diligently you have ploughed through Marx, Jung, Freud, or other gurus purportedly relevant to THE RING. Cooke expects you to use your brains and your musical sense. Quelle horreur. At today's BBC his "elitism" would render him unemployable.

Essential for Understanding Wagner's Ring Cycle.......2006-05-15

I originally bought this set on vinyl in the early 70s when I discovered the Ring in college. I studied the records and booklet assiduously, and after about three run-throughs I finally started getting it. Wow! Thirty-five years later, I still remember Mr. Cooke's analyses of various motive families, and I don't know how I could have mastered and loved the Ring without him. I now own this set on CD and listen again on the rare occasion of attending a Ring performance. My wife calls me a "Ring nut," but of course I'm nuts about many other things as well.

Bottom line, buy this set and study it if the Ring has captivated you as it has countless others. The presentation is dry, but sticking with it brings measureless and longlasting rewards.

Very Functional.......2006-03-19

This CD set is excellent for what it sets out to do: present the leitmotives of the Ring according to their relationship to one another and their role in developing both characters and plotlines. Deryck Cooke's lectures on each motive are very insightful, very helpful at cueing the listener into the semantic aspect of Wagner's orchestral writing. The one drawback is that the musical examples are a bit jarring. Without fade-ins or -outs, the engineering is quite barbaric. And though the orchestra was, I believe, conducted by Solti, and is beautifully done, the vocal performances can be quite unpleasant. Point being: this is not background music, but in accomplishing what it sets out to do, it is very successful, and I don't know of anything else like it.

Average customer rating:

Sounds A Bit Like M E H D I
Awesome CD!
Unique and upbeat
Incredible - the only word to describe it
My mind has been blown

Volume 3: Further in Time
Afro Celt Sound System
Manufacturer: Real World
ProductGroup: Music
Binding: Audio CD

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Vol. 2, Release
Volume 1: Sound Magic
Volume 5: Anatomic
Seed
Pod (Bonus DVD)

ASIN: B00005ASHF
Release Date: 2001-06-19

Tracks:

North - Part 1
North - Part 2
When You're Falling (featuring Peter Gabriel)
Shadow Man
Lagan
Colossus
Life Begins Again (featuring Robert Plant)
Further in Time
Go on Through
Persistence of Memory
Silken Whip
Onwards

Amazon.com's Best of 2001

While not as out-of-left-field revelatory and astonishing as their exalted debut, nor as darkly magnetic as their sophomore follow-up, Volume 3: Further in Time finds Afro Celt Sound System fleshed out, funky, and fiercely fresh. Now a band of 20-some-odd players, the Afro Celts push forward with unbounded energy and focus, organically driven beats, and a thoroughly joyous fusion of West African and Irish traditional music enhanced with dissonant Eastern influence, psychedelic trip-hop groove, and a monster flood of sonic waves. The resultant sound is somehow both cutting-edge futuristic and primitive in its visceral virility. Demba Barry steps up with an unexpectedly punchy African hip-hop-styled vocal on "Shadowman," "Lagan" plays out into an orchestral swan dive, and, throughout, Johnny Kalsi and Moussa Sissokho come on like gangbusters with the drums. Real World label honcho and world-music champion Peter Gabriel does a stunning turn on the eminently catchy "When You're Falling," and Robert Plant contributes a powerfully epic rock vocal on "Life Begins Again." Fine as all these moments are, the centerpiece of volume 3, where the band achieves beyond perfect synthesis, is the ecstatic groove-lock on the African acid ceilidh of "Colossus." Volume 3 is the tune-in turn-on we've been waiting for. --Paige La Grone

Customer Reviews:

Sounds A Bit Like M E H D I.......2007-07-28

Oh, Wow! This is a cd that will be liked by all who enjoy M E H D I, E N Y A or even Loreena Mckinnetts Previous works. It is the very essence of good new age. So tranquil, yet so spirited, this cd is a refreshing break from my well-worn collection, I just keep wanting to listen to it over and over again. I am amazed! It reminds me somewhat of Celtic Women, but still very unique. This is music to the soul. Absolutely relaxing, as well.

ALSO RECOMMENDED: M E H D I ~ Instrumental Paradise Volume 8 ...A True Gem, JUST GO LISTEN TO THE SAMPLES !

Awesome CD!.......2006-11-26

I just can't get enough of this group. They have such a unique sound: the name of the group sums it up pretty well. This is an awesome CD like the others.

Unique and upbeat.......2006-11-06

I was introduced to this music by a coworker and I really like it! I've always been a fan of celtic music, but this is like celtic on espresso. It's very upbeat and truly unique. I highly recommend it - enjoy!!

Incredible - the only word to describe it.......2006-08-02

My aunt put this in the car one day when we were driving to my uncle's house. I had just played the song "Chaiyya Chaiyya" from Inside Man, and she said I bet you'll like this, it's a lot of the same style. As soon as she put it on, "North" came on, and absolutely blew me away. The beautiful ambient sounds and the sparse, yet undeniably enchanting African vocals were just beautiful. By the time "North Part 2" came on, we were both drumming our hands and dancing in the car. Whoever thought of mixing African and Celtic music, then setting it to a rave/techno beat is a genius.

She bought me the CD (and also "Seed, which is great too), and I've been listening to it obsessively since. I know it's now a cliche so rate this CD 5 stars, but the beautiful, haunting melodies and the catchy, rythmic tehcno beats make this CD one of the best in my collection. It was a great find for me especially, since I'm getting sick of all the horrible pop/rock/rap that's out there. If you're like me, and you're sick of all "today's hits" and are looking for something to dance to and have a great time listening to, BUY THIS ALBUM! It is something very fresh and amazing. Aah, North 2 just came on with that awesome celtic instrument riff and dance club style techno beat. I gotta get back to dancing!

My mind has been blown.......2006-05-30

Peter Gabriel, Robert Plant, plus musicians from all over the world combining their grooves together to make a whole that surpasses anything I could have imagined. This CD not only transports, it elevates! Essential for the world music collector.

Average customer rating:

Outstanding
Yet another facet of a true diamond...
What a Gift
What rock has this guy been living under?
Very Fine

Further In
Greg Brown
Manufacturer: Red House
ProductGroup: Music
Binding: Audio CD

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Dream Cafe
Poet Game
In the Hills of California
Covenant
The Evening Call

ASIN: B000001BB5
Release Date: 1996-09-24

Tracks:

Small Dark Movie
Think About You
Two Little Feet
Hey Baby Hey
China
Where Is Maria
If You Don't Get It At Home
You Can Always Come To Me
Someday When We're Both Alone
Not High
Further In
If I Ever Do See You Again

Amazon.com

Greg Brown might be one of America's most underrated national treasures. The singer-songwriter from Iowa has penned so many good songs over the course of his career, simply going from strength to strength. And Further In might be the best yet, as spare as a Japanese garden, illuminated by small touches, like the slide work on "China." At his darkest, Brown can conjure deep shadows, and he does on "Small Dark Movie," but he's also more than capable of relieving any traces of gloom ("Hey Baby Hey"). --Chris Nickson

Customer Reviews:

Outstanding.......2007-03-06

A friend introduced me to Greg Brown's music a few years ago and loaned me this along with Covenant. I thought both were wonderful and saw Greg play a couple of years ago at a small venue in Mass. It was a great show where I purchase a couple more CDs which I thought not as good as this one. Two years later, I finally purchased Further In and am enjoying it once again along with the Covenant and the other 2. I've since been delighted to see Greg play live 3 more times.

Greg uses wonderfully simply, yet creative lyrics to grab hold of you and connect with you on a deep emotional level. His strong guitar playing and breathy baritone voice add to the enjoyment. All the songs are super. The ones that grabbed me earliest were Think About You and China. Lately If I Ever do See You Again has struck me as the most powerful on the CD. If you've ever loved, get this album. You won't be sorry.

Yet another facet of a true diamond..........2006-05-18

Greg is a diamond alright...but certainly not in the rough when it comes to his music. He may look like a hick and dance like one too, but these songs will work thier way into your heart and give you a slightly different perspective outlook on life. Sometimes with semi dark overtones (Small Dark Movie), and sometimes with optimism and a feeling of unexplainable joy (Two Little Feet). The rest of the songs are somewhere between these two. It is very much in the same vien as Dream Cafe or Poet Game. As I have said before...there isn't anything you can drink, smoke or snort that will make you feel as good as Gregs music will. It satisfies some deep inner need that I haven't really been able to put a name to yet, and after being a Greg fan for 15 years, I don't know if I will ever be able to put an exact name to it. Get it and enjoy it...some really wonderful cuts here.

What a Gift.......2005-02-18

Yep, five stars. It seems that other reviewers aren't holding back either. Makes sense. This record is a phenomenal example of Greg Brown's talents as both lyricist and musician. As a hardcore fan, I've got to say, this is a wonderfully constructed thematic piece -- a true "album." The songs create a succinct, cohesive picture of tenderness, mercy, and the love of family. Christ, it's just beautiful music. I've made a gift of this album to friends and family at least three times. Do they listen to it and hear what I hear? I can't say. However, this is one of my "Desert Island Discs" for sure. If you're new to Greg Brown, this would be a wonderful starting point. And then ... explore! You'd have difficulty making a poor choice.

What rock has this guy been living under?.......2003-09-05

I need to add my voice to the chorus that seems to be saying: "What rock has this guy been hiding under for the last twenty years?" I am constantly in search of new music that I can relate to. Jazz, Folk, Country, Rock, you name it. As a result, there is a whole shelf of stuff in my music room that I'd as soon give away as listen to. I "discovered" Greg Brown because a friend brought over "A Nod To Bob" for me to listen to. As soon as I heard Greg's voice, I knew I had to find out more about him. I logged in to Amazon and read what people had to say. Purchased "Dream Cafe" and "Further In" based on those recommendations. What wonderful stuff! I have since ordered, and received, "The Live One", "Slant Six Mind" and the "Poet Game". These are still new to me but promise to be every bit as good. While a common thread runs through his music, each piece is different, fresh, new. They are loaded with multiple layers resulting in new discoveries at each listen. The musicianship, pleasingly subtle in most cases, is superb. I especially love Kelly Joe Phelps' wonderful lap style commentary. (Only wish he would live up to the promise of his "shine eyed mister zen". His others [3] are only a small step from that "shelf".) The best music, in my experience, grows on you slowly. Often the pieces that don't grab you immediately, become your favorites. "Where Is Maria" is a perfect example. For those of you, like me, searching through the vast wasteland for stuff to listen to, Greg Brown should join your MUST list. 5 CD's so far, only 17 more(?) to go!

Very Fine.......2003-03-01

I had never even heard of Greg Brown before I read a feature about him in the International Herald Tribune. After looking at the reviews on Amazon, I selected this one, and I love it. I've been playing it repeatedly for days. I don't know how it stacks up against his other work, but this excellent album is complete in itself.
This is modern folk music mixed with traditional country and western. He has a sexy, slightly guttural singing voice, and the instrumentation, mainly acoustic guitar, is first-rate.
The songs are charming and highly memorable. The lyrics are meaningful: these are adult songs about adult relationships.
I wish the lyrics had been included in the packaging, but that is my only quibble with this cd.

Average customer rating:

The Piano Music of Billy Mayerl

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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Movie Soundtracks | Soundtracks | Styles | Music
ASIN: B0009SC7HM
Release Date: 2005-07-26

Tracks:

I Prelude
II Merlin The Wizard
III The Sword Excalibur
IV Lady Of The Lake
V Guinevere
VI The Passing Of Arthur
I Almond Blossom
II A Temple In Kyoto
III The Cherry Dance
April's Fool
Harp Of The Winds - Aeolian Harp
Marigold - A Syncopated Impression
Railroad Rhythm - An Impression
Shallow Waters - An Interlude
From A Spanish Lattice - A Southern Tone-Picture
Song Of The Fir Tree - A Swedish Impression
Nimble-Fingered Gentleman - A Syncopation
Evening Primrose
I Ace Of Clubs
II Ace Of Diamonds
III Ace Of Hearts
IV Ace Of Spades
The Joker - A Further Contribution To four Aces

Tracks:

Mistletoe
Autumn Crocus
Hollyhock
White Heather
l English Dance
ll Cricket Dance
lll Harmonica Dance
Bats In The Belfry
Green Tulips
Sweet William
Parade Of The Sandwich-Board Men
Hop-O-My-Thumb
Jill All Alone
l Willow Moss
ll Moorish Idol
lll Fantail
IV Whirlgig

Tracks:

Filigree
l Cobweb
ll Muffin Man
lll Clockwork
Siberian Lament
l Meadowsweet
ll Japonica
Alpine Bluebell
Beguine Impromptu
l The Ring Master
ll Clowning
lll Entrance Of The Trick Cyclists
lV Dancing Horses
V Trapeze
Honky-Tonk
l Misty Lawn
ll Amber Leaves
lll Hollyberry
Romanesque
l Wedding Of An Ant
ll Ladybird Lullaby
lll Praying Mantis
lV Beetle In The Bottle
Leprechaun's Leap

Average customer rating:

The Tao of Cello

Manufacturer: Valley
ProductGroup: Music
Binding: Audio CD

Avant Garde & Free Jazz | Jazz | Styles | Music

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Cello
Musical Massage: Balance
Eight String Religion
Epigraphs

ASIN: B000088EH9
Release Date: 2003-04-08

Tracks:

Restraint Begins With Giving Up One's Own Ideas
Man Follows The Earth
When Men Lack A Sense Of Awe, There Will Be A Disaster
The Tao Of Heaven Is To Take Form Those Who Have Too Much And Give To Those Who Have To Little
Man Follows The Earth. Earth Follows Heaven. Heaven Follows The Tao. Tao Follows What It Natural
Knowing Others Is Wisdoms
The Further You Go, The Less You Know
It Is Not Wise To Rush About
Returning Is The Motion Of The Tao
See Simplicity In The Complicated
In Dealing With Others, Be Gentle And Kind
He Who Is Filled With Virtue Is Like A Newborn Child
Yield And Overcome
What Is Firmly Grasped Cannot Slip Away
Tao Follows The Earth
Become As A Child Once More
Sometimes One Is Up And Sometimes Down
Just Do What Needs To Be Done
That Is Why A Victory Must Be Observed Life A Funeral
All Men Will Come To Him Who Keeps To The One
The Valley Spirit Never Dies
Heaven And Earth Last Forever

Product Description

1. Restraint Begins With Giving Up One's Own Ideas
2. Man Follows The Earth
3. When Men Lack A Sense Of Awe, There Will Be A Disaster
4. The Tao Of Heaven Is To Take From Those Who Have Too Much And Give To Those Who Have Too Little
5. Man Follows The Earth, Earth Follows Heaven, Heaven Follows The Tao, Tao Follows What Is Natural
6. Knowing Others Is Wisdom
7. The Further You Go, The Less You Know
8. It Is Not Wise To Rush About
9. Returning Is The Motion Of The Tao
10. See Simplicity In The Complicated
11. In Dealing With Others, Be Gentle And Kind
12. He Who Is Filled With Virtue Is Like A Newborn Child
13. Yield And Overcome
14. What Is Finally Grapsed Cannot Slip Away
15. Tao Follows The Earth
16. Become As A Child Once More
17. Sometimes One Is Up And Sometimes Down
18. Just Do What Needs To Be Done
19. That Is Why A Victory Must Be Observed Like A Funeral
20. All Men Will Come To Him Who Keeps To The One
21. The Valley Spirit Never Dies
22. Heaven And Earth Last Forever (Improvisation On Bach Suite II, Praeluium)

Format: CD

Classics Explained: Rite of Spring
Average customer rating:
Classics Explained: Rite of Spring
Stravinsky , Rahbari , and Brt Po Brussels
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Symphony 9: Introduction to Dvorak

ASIN: B00007FPFN
Release Date: 2003-07-15

Late Night Guitar
Average customer rating:

Beautiful music!

Late Night Guitar

Manufacturer: Salvatori Productions
ProductGroup: Music
Binding: Audio CD

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Golden Slumbers: A Father's Lullaby

ASIN: B00006LU6H
Release Date: 2002-11-01

Tracks:

Tucker's Lullaby
Easy Pieces
Another Lullaby
One String Melody
Soft Landing
Lost Time in Kauai
Michelle's Lullaby
Sun Porch on Sunday
Second String Melody
Feather Fall
Rolling Along
Further Downhill
The Sweetest Lullaby/Closing the Door

Album Description

Beautiful, timeless all-original, all-instrumental guitar based lullaby oriented CD featuring flute, oboe, cello and piano accompaniment from prominent arrangers in the mp3.com community, Nashville, and Chicago. Quiet and relaxing. Warm, lush melodies.

Customer Reviews:

Beautiful music!.......2007-02-18

I bought this for my baby to go to sleep to and he loves it. It's very peaceful and relaxing!

Siegfried (Goodall Ring Cycle/Chandos Opera in English)

Average customer rating:

Goodall's Siegfried
"Do you know what Wotan wills?"
Slow and steady wins the race
Absolutely better than you think, the best of Goodal's Ring!
Better than you might think....

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Wagner: The Rhinegold
Wagner: The Valkyrie
Wagner: Siegfried
Wagner: Die Walküre

ASIN: B000056KNC
Release Date: 2001-02-27

Tracks:

Act I.: Prld - Barry Tuckwell
Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: He Storms Away! - Gregory Dempsey
Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

Tracks:

Act I., Scene 3: Accursed Light! - Gregory Dempsey
Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
Act II.: Prld - Barry Tuckwell
Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

Tracks:

Act II., Scene 2: Could I But Know - Alberto Remedios
Act II., Scene 2: See My Mother - Alberto Remedios
Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
Act III.: Prld - Barry Tuckwell
Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

Tracks:

Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
Act III., Scene 3: Here in The Sunlight - Alberto Remedios
Act III., Scene 3: Come, My Sword! - Alberto Remedios
Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

Customer Reviews:

Goodall's Siegfried.......2007-06-22

This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

"Do you know what Wotan wills?".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Slow and steady wins the race.......2007-02-07

Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

Better than you might think...........2002-03-17

I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.

Average customer rating:

With You In Mind

With You in Mind/Further Down the Road
Charlie Landsborough
Manufacturer: Rosette
ProductGroup: Music
Binding: Audio CD

General | Easy Listening | Pop | Styles | Music
Similar Items:

Reflections
Greatest Gift: a Wonderful Album of Christmas Songs
Songs from the Heart/Live from Dublin

ASIN: B000067DSV
Release Date: 2003-10-06

Tracks:

No Time At All
Now Do You Do Those Things
Part Of Me
Shine Your Light
Isle Of Innisfree
Down To Earth
I Will Love You All My Life
Heave Knows
If Only
I Say You
Irish Waltz
You Stand All Alone
Futher Down The Road
Love You Every Second
Saints
It's Raining Outside
God Knocking On Your Door
Twelfh Of Never
Uninvited
Loreto
I Want Someone Who Will Love Me
Green Hills Are Rolling Still
Oh, Nancy
In The Bleak Mid-Winter

Customer Reviews:

With You In Mind.......2007-03-26

This CD "With You In Mind" is one of the greatest I've ever heard. Charles Landsborough's music shows a soothing and sincere style that is unusal in todays music. I think this CD is great and one I like to listen to time and time again.