Cage 2

Cage 2

Track Listings

1. Terra Toria

2. Overload

3. Life Love and Everything

4. Balance of Power

5. Amore Silenzioso

6. II [Instrumental]

7. Wind of Change

8. Theater of Dreams

9. What a Strange Thing Love Is

10. Dazed and Confused

11. Guardian Angel

12. Poison Roses

Editorial Reviews
Product Description
2002 album for hard rock act featuring ex-Black Sabbath vocalist Tony Martin & guitarist Dario Mollo (Crossbones/Voodoo Hill). Guests include Tony Franklin (Blue Murder/The Firm) on bass, Roberto Gualdi on drums & Dario Patti on keyboards. Ten tracks including, 'Cry Myself To Death', 'Time To Kill' & 'Relax'. Frontiers Records.

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

Véronique Gens - Nuit d'étoiles (Mélodies Française) / Vignoles

Average customer rating:

Lovely
An unexpected glimpse of happiness.
Enchanting recital of French Melodies
Nuit d'toiles - Melodies Francaises/ Gens, Vignoles
An Outstanding Vocal Performance

Véronique Gens - Nuit d'étoiles (Mélodies Française) / Vignoles
Gabriel Fauré , Claude Debussy , Francis Poulenc , Véronique Gens , and Roger Vignoles
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

$9.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
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Véronique Gens ~ Berlioz - Les Nuits d'été · La mort de Cléopatre
Reneé Fleming & Jean-Yves Thibaudet - Night Songs (Fauré, Debussy, Marx, Strauss, Rachmaninov)
Tragédiennes
Forgotten Songs: Dawn Upshaw Sings Debussy
Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin

ASIN: B00003ZKR9
Release Date: 2000-04-11

Tracks:

Apres un reve, Op. 7 No. 1
Sylvie, Op. 7 No. 3
Au bord de l'eau, Op. 8 No. 1
Lydia, Op. 4 No. 2
Le papillon et la fleur, Op. 1 No.1
Mandoline, Op. 58 No. 1: 5 Melodies de Venise
Clair de lune, Op. 46, No. 2
Les berceaux, Op. 23 No. 1
3 Chansons de Bilitis: I. La flute de Pan
3 Chansons de Bilitis: II. La chevelure
3 Chansons de Bilitis: III. Le tombeau des Naiades
Fetes galantes: I. En sourdine
Fetes galantes: II. Fantoches
Fetes galantes: III. Clair de lune
Nuit d'etoiles
Beau soir
Fleur des bles
La Belle au bois dormant
Noel des enfants qui n'ont plus de maison
BANALITES: I. Chanson d'Orkenise
BANALITES: II. Hotel
BANALITES: III. Fagnes de Wallonie
BANALITES: IV. Voyage a Paris
BANALITES: V. Sanglots
2 Melodies de Guillaume Apollinaire: I. Montparnasse
2 Melodies de Guillaume Apollinaire: II. Hyde Park
Les chemins de l'amour - valse chantee

Customer Reviews:

Lovely.......2005-08-30

I recommend this to any art-song lover, and really, anybody at all. Gens does an excellent performance of a great collection of beautiful French songs. Her voice is enjoyable all the way, she has great expression, and a convincing mastery of the genre.

An unexpected glimpse of happiness........2001-07-21

Stendhal wrote that "the sight of anything extremely beautiful, in nature or in art, brings back the memory of what one loves, with the speed of lightning. That is, ... all that is beautiful and sublime in the world takes part in the beauty of what one loves, and this unexpected glimpse of happiness immediately fills the eyes with tears. This is how love of the beautiful and love give each other life." This is what Ms. Gens will do to you when you listen to this CD.

Enchanting recital of French Melodies.......2000-07-07

This is a most enjoyable release, all the more so because Veronique Gens, who is generally considered a baroque specialist on the lyric stage, may well be a torch-bearer of the elusive art of the French song in the coming decades. The voice of Gens, which is solid and well-integrated with an alluring dash of vibrancy embedded therein, is eminently suited to the repertoire represented in this new Virgin Classics release. Her secure technique (just a hint of strain in one or two high notes) also renders it possible for her to fine down her voice in the ending of phrases to a charming effect. Being a native French speaker certainly helps, too. Although hers is perhaps not the most strongly-etched of readings, she is able to inflect the text intelligently, and her subtle but heart-felt stresses on particular words not only serve to illuminate the poetic prose, but also meld beautifully with the notes that she sing.

The CD opens with songs by Faure, and while Gens may not possess the charm and naturalness of utterance of Maggie Teyte, whose recordings of Faure's songs are, in the opinion of this reviewer, unsurpassable, she can conjure up the right kind of feeling for every song as no one can. Her tempo for the popular "Apres un reve" is a trifle too laid back. Yet, she conveys to perfection the dream-like quality of the song, as well as the sense of confusion and regret at awakening. Her singing of "Le papillon et la fleur" is delightfully vivid, and her evocation of the feeling of sadness being kept in restraint in "Les berceaux" makes the performance both intimate and touching.

The Debussy group is no less impressive. Despite the innovative idiom in which most of these songs are composed, Gens is able bring them off effortlessly and stylishly. She is in total command whether in the serenity of "Beau soir", the romanticism of "Nuit d'etoiles", the rustic charm of "Fleur des bles", or the harrowing grimness of "Noel des enfants qui n'ont plus de maison", the last one composed when Debussy was being haunted by the atrocities of the Great War. In "Fetes galantes I", although the vocal and piano parts are often independent of each other, Gens's remarkable interpretation succeeds in unifying the two strands into a picturesque and colourful whole. The "3 Chansons de Bilitis", which are composed very much in the style of PELLEAS ET MELISANDE, also find an ideal interpreter in Gens where, blessed with a keen sense of rhythm, she succeeds in propelling the texts forward with musical grace and dramatic import. She would surely make a wonderful Melisande.

The Poulenc is equally fine. The young soprano is able to do full justice to the diverse moods in "Banalites", which, according to Olivier Opdebeeck, who penned the CD notes, is composed in a "part-melancholy, part-joyful tone with a barb of irony which the composer identified in the poet". The "2 Melodies de Guillaume Apollinaire" are sharply contrasted, one (Montparnasse) languid and brooding and the other (Hyde Park) gusty and piquant. Gens's singing of "Les chemins de l'amour", a cross between a Viennese waltz and a cabaret song, is loveliness itself and provides a delicious end to an enchanting recital.

The major reservation that this reviewer has involves the accompaniment of Roger Vignoles. While he is able to provide secure support for the singer, his playing is uncharacterful and even bland. Besides, the piano tone seems to be rather thin at times. Nonetheless, this should not detract one from the sensuous beauty of Gens's performance. This reviewer hopes that Virgin Classics would be encouraged by the success of this release so that they can present this most promising singer in further volumes of French songs by, say, Chausson, Ravel and Duparc.

Nuit d'toiles - Melodies Francaises/ Gens, Vignoles.......2000-06-13

Not being a professional, but loving the genre of French melodies I'll avoid technical commentary; I have become a collector of these in recent years and find this one extremely satifying and appreciate the variety this CD presents.

An Outstanding Vocal Performance.......2000-05-01

This ranks as one of the very best recordings of French 'melodies' that I have yet heard. Unlike most other singers, Gens gives the words drama and meaning. Too many singers perform these works in a detached 'artistic' manner that often makes them all sound almost alike. I say this not to belittle Gens' voice (which is superb), but to indicate that this disk will take you beyond the 'standard' interpretations of these works. I had a chance to compare one of the melodies with another recent recording by Schafer, another singer whom I respect Both were being featured in a local record store. It was hard to realize they were actually singing the same piece. I recently saw Gens perform much of the same program at a recital in NYC. This was the best recital I had heard in a very long time (I go to many). The disk is almost as good. It suffers a bit from a very unnatural recorded sound: the microphone is much too close to the singer and the piano is much too forward. Also the accompaniest in NYC was clearly better. Nevertheless, it would be hard to find a better recorded performance. The more I listen to the disk, the less I notice these drawbacks. The choice of repetoire is also well done. I particularly liked the Debussy 'Trois chansons de Bilitis.' She ends with 'Les chemins de l'amour' which Poulenc wrote for Jean Anouilh's play 'Leaocadia'. This has become very popular outside the normal recital circuit. If you get only one disk of French melodies, this is the one to get.

The Most Relaxing Harp Album in the World... Ever!

Average customer rating:

The Most Relaxing Harp Alblum in the World...Ever!

The Most Relaxing Harp Album in the World... Ever!

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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General | Chamber Music | Classical | Styles | Music

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The Most Relaxing Violin Album in the World ... Ever!
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The Most Relaxing Flute Album in the World...Ever!
The Most Relaxing Chamber Music Album in the World ... Ever!
The Harmonious Harp

ASIN: B000AXWGXG
Release Date: 2005-10-04

Tracks:

Rrie - Claude Debussy
Gymnope No. 3 - Erik Satie
Sonata in A, K.208 (Andante e cantabile) - Domenico Scarlatti
Siciliana - Ottorino Respighi
Piano Concerto No. 5 in E-Flat, Op. 73 Emperor - II Adagio - Ludwig Van Beethoven
Sonatine, Op. 30 - II Calme et expressif - Marcel Tournier
Allemande & Courante (from French Suite No. 6 in E, BWV 817) - Johann Sebastian Bach
Arabesque No. 1 in E - Claude Debussy
Pavane of the Sleeping Beauty (from Ma M lOye) - Maurice Ravel
Lute Concerto in D, RV 93 - II. Largo - Antonio Vivaldi
Sarabanda - Nino Rota
Siciliano (BWV 1031) - Johann Sebastian Bach
Concerto for Harp & Orchestra in G Minor, Op. 81 - II Romanza (Andante) - Elias Parish-Alvars
Andante (from Violin Sonata in A, BWV 1015) - Johann Sebastian Bach
In a Landscape - John Cage

Tracks:

Concerto for Harp & Strings in B-Flat, Op. 4 No. 6 - George Frideric Handel
Concerto for Harp & Strings in B-Flat, Op. 4 No. 6 - George Frideric Handel
Concerto for Harp & Strings in B-Flat, Op. 4 No. 6 - George Frideric Handel
The Girl with the Flaxen Hair (from Preludes, Book I) - Claude Debussy
Sonata for Harp - III Lied - Paul Hindemith
Pavane - Antoine Francisque
Concerto for Flute & Harp in C, K.299 - II Andantino - Wolfgang Amadeus Mozart
Clair de lune (from Suite bergamasque) - Claude Debussy
The Sunken Cathedral (from Preludes, Book I) - Claude Debussy
Andantino (from Sonata in C Minor) - Giovanni Pescetti
La Source, Op. 44 (ude) - Alphonse Hasselmans
Jesu, Joy of Mans Desiring (from Cantata, BWV 147) - Johann Sebastian Bach
Gymnope No. 1 - Erik Satie
Danses sacret profane - Claude Debussy

Customer Reviews:

The Most Relaxing Harp Alblum in the World...Ever!.......2007-01-08

Very soothing. Allows you peace of mind

Average customer rating:

In His Presence, Vol. 2
Clint Brown
Manufacturer: Tribe
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music

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Clint Brown :In His Presence
In His Presence, Vol. 3
Mercy & Grace
Alone
Nothing But Church

ASIN: B0002378O6
Release Date: 2000-01-01

Tracks:

In His Presence
Waiting On You
Let All The Earth
You Alone
You Deserve
I Surrender All
I Love You
Seek Your Face
You Are
O Come All Ye Faithful
I Wanna Be More Like You
I Will Bless You Lord
If Not For Grace
Holy
Holy (Reprise)

Product Description

Contains the following songs In His Presence Waiting On You Let All The Earth You Alone You Deserve I Surrender All I Love You Seek Your Face You Are O Come All Ye Faithful I Wanna Be More Like You I Will Bless You Lord If Not For Grace Holy Holy (reprise)

Average customer rating:

American Classics Sampler

Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

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Victor Herbert: Columbus Suite/ Irish Rhapsody/ Auditorium Festival March

ASIN: B00005LMZU
Release Date: 2001-06-19

Tracks:

March: Hands Across The Sea
Dizzy Fingers
Mississippi Suite-I. Father Of Waters
Tournament Galop
From A Moonlit Ceremony-I. Evocatioin
Violin Concerto-I
Melody For Violin And Piano, Op.44
Al Fresco
The Breaking Heart
Andante Moderato
Camptown Races
Prelude For Meditation
I. Allegro Moderato Grazioso
Adagio For Strings
Love Duet
Hexentanz

Average customer rating:

A European modernist embraces Ives
Great Performances, but the Star of this CD is Charles Ives
works grow and transform themselves
a fresh take on sonata no. 2
It takes a Frenchman to capture an American masterpiece!

Ives: Concord Sonata; Songs
Pierre-Laurent Aimard , Susan Graham , and Charles Ives
Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Charles Ives: Songs

ASIN: B0001HZ6MO
Release Date: 2004-05-11

Tracks:

The Things Our Fathers Loved
The Housatonic At Stockbridge
From The Swimmers
Memories (A - Very Pleasant, B - Rather Sad
Ann Street
Serenity (A Unison Chant)
1, 2, 3
Songs My Mother Taught Me
The Circus Band
The Cage
The Indians
Like A Sick Eagle
A Sound Of A Distant Horn
September
Soliloquy (Or A Study In 7ths And Other Things)
A Farewell To Land
Thoreau
Emerson
Hawthorne
The Alcotts
Thoreau

Amazon.com

Ives' Second Sonata is one of the toughest, but it holds no fears for Aimard, a noted interpreter of Messiaen, Ligetti, and other moderns who require virtuoso technique and idiomatic expertise. Each of its four movements is titled for New England luminaries: Emerson, Hawthorne, the Alcotts, and Thoreau. The longest, "Emerson," is knotty and energetic, bristling with a minefield of cluster chords. "Hawthorne" is a genial scherzo exhibiting a wider palette, while "The Alcotts" is a lyrical paean to domestic tranquility. "Thoreau" embraces the mysteries of nature, played with intensity by Aimard. There's an abundance of power in his playing, but also ravishing effects like the startling diminuendo in "Thoreau" and the array of marches, hymns, and parlor songs Ives threw into the mix. His terrific "Concord" Sonata is matched by the survey of Ives' inventive songs, 17 of them superbly sung by Susan Graham with Aimard superb as her piano partner. Graham captures every nuance of a mind-boggling variety of idioms, from nostalgia, tenderness, and hilarious miniatures like "Ann Street" and the sendup of opera in "Memories - A," among many other highlights. This one's a must for Ivesians, fans of musical eccentricity, modern music enthusiasts, and anyone in search of musical surprises, which abound on almost every track. --Dan Davis

Customer Reviews:

A European modernist embraces Ives.......2007-01-08

Chalres Ives was 46 when he published his "Concord"Sonata, and as the liner notes tell us, its sprawling shape and diverse styles are the result of gathering a lot of music previously composed (none of it for solo piano) and needing a single dwelling. Ives always had his own ideas about how music is held together or flies apart. He wasn't afraid to have it fly apart, and often his notion of coherence was so private, rooted in personal memories, that an outside listener can't be expected to penetrate the associations.

Aimard goes a long way in erasing the ecdentricity, privacy, and quirkiness of Ives's idiom bydrawing the sonata into the mainstream of European modernism, giving it the same clean, detailed, accurate, and impressionistic style that he might give to other individualists like Ligeti and Messiaen. (It's also nice to have the viola addition to the first movement and the flute in the fourth.) The "Concord" Sonata becomes a virtuosic event in his hands, no longer a purely "American" sport. I do find that listening to this vast work is better in concert, where its appearance is always a special occasion. But one has to be grateful for Aimard's quantum leap in execution compared to earlier recordings.

Ives gathered his huge output of 114 songs into a collection two years after the sonata. Susan Graham picks 15 of them, adding two more that folowed after 1922. These songs ask for a vocal chameleon who can shift instantly from Victorian parlor style to patriotic exuberance, folk song, whimsy, rapt nostaliga, and more. No one to date has been able to encompass this enormous range of expression, but Susan Graham comes as close as any. I would rank her with Jan De Gaetani, Thomas Hampson, and William Sharp among the singers I know who excel in Ives, and above the too-classical, somewhat congested renditions by Marilyn Horne and Jennifer Lamore. Aimard's accompaniment misses the Yankee flavor of the marches and patriotic snatches, but in its modernist way his style is as effective as in the sonata. Highly recommended for lovers of this music.

Great Performances, but the Star of this CD is Charles Ives.......2005-08-10

The uniquely atypical music of Charles Ives continues to mature and embed itself in the minds of larger and larger audiences every year. Practically every major orchestra in this country (and in Europe) now includes at least his symphonies in the standard repertoire. His music is probably as 'American' as any composed, so conjoined with literature and history and folksongs and all manner of Americana. This superb recording takes us one step further in appreciating Ives' gifts: his breathtaking Concord Sonata is coupled with one of the finest selections of his many songs and both sonata and songs are performed with consummate skill by pianist Pierre-Laurent Aimard and mezzo soprano Susan Graham.

Aimard's approach to this big piano work is one of direct approach to the complexities of line and mood and in that approach he doesn't allow his own personality to blur Ives' message. Aimard can tackle the impossibly difficult passages and keep them transparent: he can also find the inner quiet beauty as well as any other pianist. The result is a Concord Sonata of majesty and honest simplicity.

Susan Graham has long included Ives' songs in her recitals and that experience shows in her approach to this varied selection. Graham is an immensely intelligent musician, one who can find the meaning of even a brief song in an instant. She is in fine vocal form here, and her collaboration with Aimard completes a presentation that will be difficult to match. This is a fine recording and an excellent entry point for music lovers who may have been wary of Ives' challenges. Relax and enjoy this recital. Grady Harp, August 05

works grow and transform themselves.......2005-04-07

First off this is an Ives cornocopia of songs, all sung here with the reserve that is needed, I've heard too many American art Songs, Copland, Rorem and Ives with that wrongheaded "sing-songin" delivery, it is arrogant if nothing else, and the "cutsy-ness" of it does reach the audience,unless you simply want to be entertained and you checked your brain with your cash at the box office. Straightforward Ives is I think to most effective way of playing his music,that's why I still prefer the Kalish, he brings a gritti-ness to the Concord. Aimard (and all of us) has had time since the Seventies to think and re-think this piece, and there something should be said for the way music grows, transforms itself for different time periods, isn't that why music develops itself it is striongly constituted in the first place, it is well thought through, et cetra, construction all the obvious, Copland's "Piano Variations" is a similar example, the music simply changes with time, well we change, the music is fixed.So I guess there are simply different readings.

Aimard does bring some nice clarity,like to "Hawthorne", the blazing quickness searching until the "forearm" clusters stop the flow, the onward rush of the imagination, words can change the meaning of themselves this quickly which I think is what Ives saw in Hawthorne the writer.

For the "Alcotts" any kind of nostalgia is OK with me,the simple Bb triad timbres capturing the informed naivtivitee of the little home with Bronson Alcott the speaker public man of speaking (there is a difference between public speaking and lecturer,someone who teaches as opposed to simply speaking something Bush II knows quite well.Better simply to speak without saying anything.) This is not here however for Ives loved the Utopian aspect of Danbury existential renderings, the reflections back and forth of the lifeworld, the richness of culture of the complexity of the word,place, song, timbre,all in forms of strength all mixed blending together. Aimard simply brings things out I;ve never heard before, but then that is his approach always to clarify,and that is not always the best approach in Ives where his music does ask questions, his music we have learned should be opaque, and unexplanable,terse yet convoluted; it should not lead you by the nose at each and every moment.And Aimard I;m afraid does want to lead here. I think he thinks the opaqueness will happen by itself, its already in the music, he lets this occur in the fast sections,making it a pure texture,like Debussy, I guess Ives was an existential impressionist with transcendental content.

a fresh take on sonata no. 2.......2004-07-28

I have a slightly different view than with the previous review, as well as the Davis review. If you are a fan of Ives (you probably are if you are interested in this cd), then you may not need to bother with half of this cd. Messo Susan Graham is quite out of touch with the character studies of these wonderful songs. When she isn't yodelling many times louder than she ought to on some high notes to demonstrate her vocal command, she becomes the epitomy of boredom and banality. I imagine Ben Stein could give a more lifelike reading of 'The Circus Band'. The jovial cheer "hear the trombones!" sounds more akin to a yawn on this version. Since when did shear vocal power and sonic richness take such high precedence over interpretive skills? Have you really forgotten Jan de Gaetani's wonderous versions? I feel Graham has done a disservice to this music, and should probably go back to singing French arias which apparently she is quite good at.

The Concord Sonata is definetly the reason you may want to own this disc. Aimard is outstanding as per usual. Emerson does really come alive here, as does Hawthorne with it's dramtic tempo shifts. My main concern lies in the 3rd movement 'the Alcotts'. It is clearly a pastorale movement with a touch of sweet nostalgia. Aimard plays a little too deliberately here- not loose enough with the tempo or lively enough with the rhythms. That really is the only disadvantage. I don't think Aimard played the folk elements strongly enough.
I guess the main question is: if I own the Kalish recording of the Sonata, do I need this one too? Probably again, you are an Ives believer and this version has great insights- why not. Like the Kalish version, this one includes the optional viola line on Emerson and the flute part of Thoreau. They appear better realised with more dramatic impact on the Kalish recording- a minor point. Movement for movement Aimard has the first and seccond, but I prefer 3 and 4 on the Kalish. The 3rd mentioned above, and the fourth seems to have more gravity with Kalish, bringing more of a closure to the tempestuous nature of the work. Aimard shows a more whispy, impressionistic take as he also does at the start of Hawthorne, reminding of Debussy. Not inappropriate stylistically speaking, but definetly a matter of taste. Aimard is a winner and I love what he does for Ligeti and Messiaen. Overall a very successful Ives sonata, and a questionably performed set of songs, well-chosen as they might be. If you are new to Ives this should be enough to get you into further explorations.

It takes a Frenchman to capture an American masterpiece!.......2004-05-19

The "Concord Sonata" of Charles Ives has been described as "the greatest work written by an American." It's a big sprawling, glorious mess of a thing, inspired by the Transcendental writers Emerson, Hawthorne, Alcott and Thoreau. I first heard the ground-breaking version by John Kirkpatrick, and have long cherished the powerful account by Gilbert Kalish (recorded in the '70s). But hearing Pierre-Laurent Aimard play this piece makes me forget all about those earlier recordings. A specialist in Messian and Ligeti, Aimard plays Ives like one to the manner born. Forget any preconceived notions of what it means to be a "French pianist," and let this astonishing performance carry you away. The Alcotts movement has never felt so tender, and the Thoreau movement is likewise exquisitely balanced. Perhaps most enthralling is how he manages to give shape and sense to Emerson, and Hawthorne, the fiendishly hard scherzo, has never had a reading like this. I'd have been content with the sonata, but the disk also holds the gorgeous mezzo Susan Graham singing 17 Ives songs, with Aimard's brilliant accompaniments. A fabulous recording no serious American music collection should be without!

OHM: The Early Gurus of Electronic Music

Average customer rating:

excellent but uncomplete
To call it music may be a bit limiting.
A worthwhile collection
OhMyGodHowDreadful
Kid Stockhausen

OHM: The Early Gurus of Electronic Music
Various Artists
Manufacturer: Ellipsis Arts
ProductGroup: Music
Binding: Audio CD

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An Anthology of Noise & Electronic Music, Vol. 3: 1952-2004
Audio Culture: Readings in Modern Music
Roxy Music
Ohm: The Early Gurus of Electronic Music Special Edition 3CD + DVD
Profiler - Season 4

ASIN: B00004T0FZ
Release Date: 2000-04-25

Tracks:

Valse Sentimentale - Clara Rockmore
Oraison - Ens D'Ondes De Montreal
Etude Aux Chemins De Fer - Pierre Schaeffer
Williams Mix - John Cage
Klangstudie II - Herbert Eimert/Robert Beyer
Low Speed - Otto Luening
Dripsody - Hugh Le Caine
Forbidden Planet: Main Title - Louis Barron/Bebe Barron
Elektronische Tanzste: Concertando Rubato - Oskar Sala
Poem Electronique - Edgard Varese
Sine Music (A Swarm Of Butterflies Encountered Over The Ocean) - Richard Maxfield
Apocalypse-Part 2 - Tod Dockstader
Kontakte - James Tenney/William Winant
Wireless Fant - Vladimir Ussachevsky
Philomel - Milton Babbitt
Spacecraft - MEV

Tracks:

Cindy Electronium - Raymond Scott
Pendulum Music - Sonic Youth
Bye Bye Butterfly - Pauline Oliveros
Projection Esemplastic For White Noise - Joji Yuasa
Silver Apples Of The Moon, Part 1 - Morton Subotnick
Rainforest Version 1 - David Tudor
Poppy Nogood - Terry Riley
Boat-Woman-Song - Holger Czukay
Music Promenade - Luc Ferrari
Vibrations Composees: Rosace 3 - Francois Bayle
Mutations - Jean-Claude Risset
Hibiki-Hana-Ma - Iannis Xenakis
Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals: Drift Study '31/69 c.... - La Monte Young

Tracks:

He Destroyed Her Image - Charles Dodge
Six Fants On A Poem By Thomas Campion: Her Song - Paul Lansky
Appalachian Grove - Laurie Spiegel
En Phase/Hors Phase - Bernard Parmegiani
On The Other Ocean - David Behrman
Stria - John Chowning
Living Sound, Patent Pending Music For Sound-Joined Rooms Series - Maryanne Amacher
Automatic Writing - Robert Ashley
Canti Illuminati - Alvin Curran
Music On A Long Thin Wire - Alvin Lucier
Melange - Klaus Schulze
Before And After Charm (La Notte) - Jon Hassell
Unfamiliar Wind (Leeks Hills) - Brian Eno

Amazon.com

Opening with Clara Rockmore's reworking of Tchaikovsky with the theremin, and finishing with one of Brian Eno's ambient soundscapes, OHM artfully succeeds in its goal of giving a representative (as opposed to the impossible, comprehensive) overview of the first several decades of electronic music. Over 3 discs, 42 compositions, and 96 pages of notes and photos, OHM clearly illustrates the producers' and contributing writers' point that early electronic music is much of the foundation of contemporary music. Herein lies the connective tissue bridging musique concrète, 20th-century classical, electronic experimentation, and the theoretical avant-garde to psychedelia, ambient, dub, techno, electro, and synthpop and the globalization of sound. The groundbreaking uses of loops, sampling, drones, remixes, and cut-and-paste technology are put fully into context. The diversity of music included makes any sort of summation impossible, but that is also the point: electronic music is not really a genre, but an open field of endless possibility. From John Cage's famous "William's Mix" of tape snippets to Karkheinz Stockhausen's electronic orchestral compositions, from David Tudor and Holger Czukay's experiments in unrelated blendings of audio elements to David Behrman's supremely peaceful duet between computers and musicians, the aural renegades on OHM tread where none (save a few of their contemporaries) had gone before. The liner notes convey the incredible amount of hard work and experimentation it took to stitch together many of these pieces in the predigital era. Putting aside the inevitable quibbles about what's missing (much of it due to legal and/or logistical issues), a more complete collection of musical eggheads, eccentrics, and visionaries is hard to imagine. --Carl Hanni

Customer Reviews:

excellent but uncomplete.......2006-11-12

Althought most of the music here is an excellent collection of electronic music history, this 3 CDs lack of the important contribution given by the RAI phonology studios of Milan, Italy in the 50s
(which was bigger than Koln's WDR studios) with Bruno Maderna, Luciano Berio and Luigi Nono.
This is a big mistake. Milans studios were the biggest of europe and produced many important electroacoustic pieces.
If the collection aim to describe faithfully electronic music history, it should include this artists too.

To call it music may be a bit limiting. .......2006-10-24

Some of the tracks on here are "music". That is that they contain all the bits we're trained to experience as music -- melody, etc. Some are not, and the composers would be the first people to tell you that. A lot of these works are reactions to ingrained rules, so they're bound to be jarring.

A more successful way to approach such a broad and varied collection of audio experimentation is to think of it as curated sound. This isn't something to wash the dishes to, or to seduce someone to (although if you did manage to seduce someone with the recordings on this anthology, HOLD ON TO THAT PERSON, because they've got to be a keeper). These are unique sound textures that deserve a close, probably solitary listen, and I think if you're in the right frame of mind, it can be a very rewarding listen.

My main complaint is sequencing: each dicrete piece follows it's own internal logic, so there are more than a couple rough gear changes. However, since each piece is so different, and the collection is so varied, I'm not sure that you could totally escape that.

A worthwhile collection.......2006-01-11

The OHM collection contains some of those ground breaking electronic compositions that have shaped today's styles, from the early electronic instruments of Theremin and Martenot, through Pierre Schaeffer's Music Concrete tape music and the electronic music of Stockhausen and Subotnick, to the mainframe computer output of Risset and Chowning.

It is unfair to mark this collection down due to the production quality and 'musicality' of its contents, to do so would be to staggeringly miss the point of the development of electronic music through the 20th Century. What this collection shows is the ideas behind those at the cutting edge of the genre before many could even conceive of such output. That said it is hard going at points, as experimental music can be.

Highlights for me are no doubt Olivier Messiaen's 'Oraison' on CD 1, David Tudor's 'Rainforest Version 1' on CD 2 and on CD 3 David Behrman's 'On the Other Ocean' and Maryanne Amacher's 'Living sound Patent Pending'.

OhMyGodHowDreadful.......2005-08-15

Ok, this collection is supposed to be early works and, thus not expected to be very sophisticated or polished. But the OHM collection sounds like the first attempt of a spastic cat turned-loose on a Moog keyboard. When it is not boreing, this collection of random and dissonant sounds (I can't call it music) is without any redeeming qualities to make it worth while. Don't get me wrong, I am a long-time fan of Wendy (nie Walter) Carlos and some other real pioneers of electronic music. However, I find that the Ohm collection has no similar qualities and is a major disappointment.

Kid Stockhausen.......2003-01-17

This is required listening for anybody interested in the history of electronic music. Although implicitly aiming for the techno music audience, this audio history is overwhelmingly focused on the classical avant-garde of electro-acoustic composers. The closest you'll get to pop electronica is the Brian Eno track at the end of the third disc. No Kraftwerk, no Moroder, etc. Instead "OHM" manages to point to the continuities between, say, John Cage and artists currently working at the experimental edges of electronica (so-called IDM). It seems to be saying, "You think Kid 606 is visionary? Well check out this Stockhausen track from '59!"

Admittedly, some of the songs are much more interesting to think about than they are to listen to. Some of the early pieces that were made through thosuands of hours of pains-taking tape-splicing could be made today in an afternoon with a digital audio editor and a few effects plug-ins.

Tracks:

Kyrie I
Rachell's Weepinge
Langdans efter Byfans Mats
Lachrymae Antiqua
Psalom
Two Studies On Ancient Greek Scales: 1. Olympos' Pentatonic - 2. Archytas' Enharmonic
Long-Ge
Totem Ancestor
Kyrie II
Brudmarsch fra Osta
Using The Apostate Tyrant As His Tool
Synchrony No.2
Quodlibet
Viderunt Omnes
Kyrie III
Four Part Fantasia No. 2
O Virtus Sapientie
Uleg-Khem
Farwell My Good I. Forever
Collected Songs Where Every Verse Is Filled With Grief
Requiem Mass: Bells: Tolling Of The Knell

Amazon.com essential recording

Don't get too comfortable with this disc's opening minutes, which sound convincingly like a well-tuned consort of viols performing two short pieces by Machaut and Tye. These two works from the 14th and 16th centuries quickly give way to a piece from 1997 by David Lamb. Then come Arvo Part, Harry Partch, John Cage, and even Moondog, a.k.a. Louis Hardin. Additional instruments come and go- -harmonium, bagpipe, zhong ruan, nyckelharpa, drum--all of which complement and enhance the string sounds. Later, we hear music by Hildegard von Bingen, Perotin, and even Purcell. Most of the selections from early composers are arrangements by the Kronos Quartet and others, but it's a tribute to the recording's producers that in spite of the music's diversity, everything works together to make a coherent, cohesive, intellectually, and musically challenging program. --David Vernier

Customer Reviews:

one of their best.......2005-04-14

If you like simple, string quartet music as much as I do, then you've got to listen to this. It is a generous 68 minutes of plaintive music--no discontinuities and surpises like on their Black Angels recording. It is all slow and mournful.

I loved this CD!.......2002-11-02

When I was listening to MSN I came across it. I love Early Music and they had a Radio station that was playing it. I decided to listen to it. So as I was lisitening to it I came across the song Collected Songs Where Every Verse Is Filled With Grief. That is the besty song I ever heard in a long time. I like the other songs but this one really spoke to me. It was quite moving if I might say.

Not as early as you might think.......2000-06-07

Yes, there is "old" music on this disc. But works in olden style by John Cage, Arvo Part, et al are also present. Quite a challenging program on the listener - but rewarding as well. I am particularly found of Kronos' setting of Alfred Shnittke's "Collected Songs Where Every Verse is Filled With Grief". Very eclectic recording performed with usual finesse of the Kronos Quartet - and some guests.

Pleonastic.......2000-03-10

Kronos Quarter has been an agile and versatile instrument in the hands of modern composers. It has (re)interpreted music from many sources in a coherent way, thus creating a very distinctive sound. This album offers a mixed program of composers, juxtaposing the modern and the antique. The thesis of the album is (I think) that early composers are surprisingly palatable to modern sensibilities, and that they are close in spirit to a vast array of contemporary musicians. Also, it seems that the bond linking all these authors is a certain state of affliction; hence the subtitle of the album "lachrymae antiquae", ancient tears. Yet, overall, I found this a pretentious album, even in its use of latin. After so many years of philologically accurate renditions of the early masters, performed on period intruments, the operation of K.Q. sounds at least inappropriate if not even a bit obnoxious. It often seems that they are sacrificing the original intentions of the authors to the altar of this "modernity" thesis. The listener should judge by him/herself.

Summing up, I would just say that this is first of all a K.Q. album "inspired by" early music. I would just point out that it doesn't add much to the understanding neither of Machaut & co., nor of K.Q., which is still a great ensemble.

a good one.......1999-12-02

Who can say, as of now, how much of the music the KQ plays will fall, deservedly or not, by the wayside and how much of it will continue for the ages? At any rate, this CD is rewarding. I like the mix of quirky pieces with the staid, even if the title "Early Music" is misleading (since few original instruments are utilized in this record). Fine work; highly recommended.

John Cage: Music for Prepared Piano, Vol. 2

Average customer rating:

Thank You, Naxos!
Uncaged
Acceptable performances of minor Cage
Berman's Cage

John Cage: Music for Prepared Piano, Vol. 2

Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

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Cage: Sonatas and Interludes for Prepared Piano
John Cage: In a Landscape
Insomnia
Silence: Lectures and Writings
John Cage: Early Piano Music

ASIN: B00005A8A6
Release Date: 2001-03-20

Tracks:

The Perilous Night: No.1
The Perilous Night: No.2
The Perilous Night: No.3
The Perilous Night: No.4
The Perilous Night: No.5
The Perilous Night: No.6
Tossed As It Is Untroubled
Daughters Of The Lonesome Isle
Roots Of An Unfocus
Primitive
Mysterious Adventure
And The Earth Shall Bear Again
The Unavailable Memory Of
Music For Marcel Duchamp
Totem Ancestor
A Room
Prld For Meditation

Amazon.com

John Cage abdicated his role as composer around 1950 to become a bystander as random sounds went by. Before that, he wrote some of the most fascinating music produced in America. Some of Cage's best early music was written for percussion ensembles. When the limited space at a dance performance forced him to become an inventor, he thought up a one-man percussion ensemble: the "prepared piano," a standard piano altered by clamping objects onto the strings. The music on this disc covers a wide range of moods and temperament, from the ghostly "Daughters of the Lonesome Isle" to the aggressive "And the Earth Shall Bear Again." Most of the pieces are imaginative enough to stand up to repeated listening. Boris Berman, a Russian-born pianist who now runs Yale's piano department, is better known for playing music like Scriabin and Prokofiev. But he seems completely in command of this radical idiom, with only a bit of rushing here and there keeping him from perfection. With its vivid sound and fascinating repertoire, this disc is another notable Naxos bargain. --Leslie Gerber

Customer Reviews:

Thank You, Naxos!.......2006-01-20

The term "John Cage" seems to haunt my mind as long as I live. He certainly was one of the most controversial American composers during his days; he was the key figure to introduce "chance" and the "prepared piano" - by placing different small objects on the strings, the instrument produces various timbre, thus creating sort of a one-man percussion ensemble!

"4:33" is the first piece I knew by Cage, and I did listen to bits and pieces from radios and such, but I didn't have a single CD to own and have myself fully introduced to Cage's radical music. Plus, all this avant-garde albums are incredibly hard to find in high-profile Classical labels including Deustche Grammophon and Sony.

That's when I relied on Naxos, which currently holds one of the largest arrays of Classical music. And sure enough, I immediately bought what I needed; the first two Cage CDs released, performed by Russian pianist Boris Berman - the first one featuring "Sonatas and Interludes" for prepared piano, and this album. At a budget price, there is only little risk out of my wallet. So thank you, Naxos! Now I can listen to Cage's music wherever I can.

Of the two albums, I like this one better, because it features (except for the brief cycle "The Perilous Night") different separate pieces, each with distinct "preparations", moods, and colors the instrument can produce with all those objects inside. My favorite are "Tossed as it is Untroubled" and "Music for Marcel Duchamp", both with a foreign folk-like quality. I also like the extravagant "Mysterious Adventure" and the percussive "Primitive". Another particularly bizarre work is "Root of an Unfocus". There are some relatively calm pieces too, including "The Unavailable Memory of", "A Room", and "Prelude for Meditation".

A great CD for other people new with John Cage's music, but a good CD for Cage fans and experts too.

Uncaged.......2004-06-12

Try this album, patiently listening all the way through, and I think you will want immediately to play it again. Cranky music, perhaps, but absolutely fascinating. Cage was a grand experimenter, and here he even reconstructs a piano to achieve just the exact sonorities he wants, brilliantly played by Boris Berman. Haunting music, like nothing heard before. Bob Finley

Acceptable performances of minor Cage.......2003-12-18

Following up on his recording of the complete Sonatas and Interludes, Boris Berman's second Cage disc for Naxos takes on a miscellany of music for prepared piano that gives a good overview of the composer's music for dance of the 1940s. The overall tone of the music is generally rhythmic and percussive rather than melodic; hence Cage's placing of objects on the piano strings to completely change the piano sound.

This disc contains three larger works and nine shorter ones. The Perilous Night is in six movements--the other works here are all in one movement--and explores a variety of sounds, rhythms and timbres. Daughters of the Lonesome Isle alternates between ghostly sound and vigorous dancelike rhythms, while Mysterious Adventure is a wide-ranging--if discursive--eight minute fantasy.

The shorter works tend even more towards vigorously rhythmic writing: Primitive, Totem Ancestor and And the Earth Shall Bear Again are near-orgiastic dances (I particularly like how, in the last of these pieces, Cage prepares the bass notes of the piano but leaves the treble untouched). In contrast, The Unavailable Memory of, Prelude for Meditation and Music for Marcel Duchamp are slow, meditative works, often monophonic. The rhythmic vagaries of Tossed as it is Untroubled, Root of an Unfocus and A Room add a little variety to the music, and probably come as close as any of these pieces to Cage's later style.

This is an interesting disc, and provides a strong foretaste of Minimalism, though an hour of largely similar works is a little much to take in one sitting. Berman's performances are acceptable, but nothing more: most of the works here have received superior readings on rival recordings by pianists such as Karis, Tan, Drury and Schleiermacher. Recommended to those on a budget, or for whom the collection is attractive.

Berman's Cage.......2001-05-08

My only complain comes from his choice of tempo for a piece such as "Music For Marcel Duchamp", which is the fastest i've ever heard (at 5'06 aprox)and lacks the mesmeric atmosphere that got me hooked on it the first time I listened to it.

Average customer rating:

excellent overview of contemporaneous classic music
For the price you can't lose

Discover Music of the 20th Century

Manufacturer: Naxos
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Binding: Audio CD

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Luigi Nono: Como una ola de fuerza y luz, for Soprano, Piano, Orchestra & Magnetic Tape (1971-72) / ...sofferte onde serene... For Piano & Magnetic Tape (1976) / Contrapunto dialettico alla mente, for Magnetic Tape (1968) - Maurizio Pollini / Claudio Abbado

ASIN: B000B6N6B8
Release Date: 2005-11-01

Tracks:

Prelude A L'Apres-Midi D'un Faune - Alexander Rahbari
Walzer - Peter Hill
I. Andante-Scherzo - Rebecca Hirsch
Sehr Ruhig Und Zart - Ulster Orchestra
Lebhaft Und Zart Bewegt - Ulster Orchestra
Sehr Langsam Und Ausserst Zart - Ulster Orchestra
Fliessend, Ausserst Zart - Ulster Orchestra
Sehr Fliessend - Ulster Orchestra
Forlane: Allegretto - Klara Kormendi
First Tableau: The Shrove-Tide Fair - Philharmonia Orchestra
The Mountebank - Philharmonia Orchestra
Vivo - Bournemouth Sinfonietta
III. Moderato Pesante - Bournemouth Symphony Orchestra
Hymn To St. Cecilia - Choir Of St. John's College, Cambridge
IV. Allegretto - Ondrej Lenard
Introduzione: Andante Non Troppo-Allegro Vivace - Alexander Rahbari

Tracks:

Romance - Czecho-Slovak State Philharmonic Orchestra (Kosice)
II. Allegro - Ladislav Slovak
III. Allegro Agitato - Stephen Gunzenhauser
Main Theme From Schindler's List - Paul Bateman
The Unanswered Question - Northern Sinfonia
Second Electonic Interpolation (Conclusion) - Polish National Radio Symphony Orchestra
Third Electronic Interpolation (Beginning) - Polish National Radio Symphony Orchestra
I. Liturgie De Cristal - Amici Ensemble
IV. Commentaire - Idil Biret
Warming Up, Leading To Model 1, Bass - Gregory Rose
'Gott Nochmal' Sun God - Gregory Rose
'Vishnu' God Of Storms - Gregory Rose
God Of The Earth - Gregory Rose
First Interlude - Boris Berman
I. - Roger Heaton
Short Ride In A Fast Machine - Bournemouth Symphony Orchestra
The Lord's Prayer - Choir Of St. John's College, Cambridge
II. Lento E Largo-Tranquillissimo - Zofia Kilanowicz
Lullaby - Philharmonia Orchestra
Vision Of The Hunt I - Philharmonia Orchestra
Voice For Solo Flute - Robert Aitken

Customer Reviews:

excellent overview of contemporaneous classic music.......2007-03-22

excellent overview of contemporaneous classic music.

Should be continued, plenty more 20th-century composers to be discovered.

For the price you can't lose.......2007-02-21

This 2 cd set consists of, as the title indicates, various 20c pieces or movements from the Naxos catalog. Sound quality is uniformly high, although for some such as Stockhausen's it's not clear if that's good or bad. What is excellent is the variety of the collection--some familiar (Debussy), others not, som