Hyperion [Original recording remastered] [Import]

Hyperion [Original recording remastered] [Import]

Track Listings

1. Gathering Of Pilgrims

2. Filaments Of Armageddon

3. Old Barge

4. Keeper Of Time (Eternal Champion)

5. Cantos

6. On A Sea Of Grass (Night)

7. Reversed

8. On A Sea Of Grass (Day)

9. Long Farewell

10. At The Keep

11. Swarm Attackl

12. Loveternaloveternal

13. In Your Face (Bonus Song Taken From "Dead End Solution" Ep)

Editorial Reviews
Product Description
The third album by the Danish power metal band has been completely remastered and features 13 tracks including the bonus track 'In Your Face' taken from the Dead End Solution EP. Massacre. 2005.

Hyperion,Manticora,Massacre,Heavy Metal

Eric Whitacre: Cloudburst and other choral works
Average customer rating:

Cloudburst review

Awesome Choral A Cappella

Stunning

Whitacre's work is refreshing. Beautiful.

Overwhelmingly beautiful

Eric Whitacre: Cloudburst and other choral works
Eric Whitacre , Polyphony , Robert Millett , Stephen Betteridge , and Stephen Layton
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
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Eric Whitacre: The Complete A Cappella Works, 1991-2001

Lauridsen: Lux Aeterna, etc. / Salamunovich, Los Angeles Master Chorale

Morten Lauridsen: Lux aeterna

Nocturne

Morten Lauridsen: Nocturnes

ASIN: B000E1XOUS
Release Date: 2006-02-14

Tracks:

i thank You God for most this amazing day (1999, TEXT: e.e. cummings)
I hide myself (1991, TEXT: Emily Dickinson)
Sleep (2000, TEXT: Charles Anthony Silvestri)
Go, lovely Rose (1991, TEXT: Edmund Waller)
When David Heard (1999, TEXT: II Samuel 18:33)
hope, faith, life, love (1999, TEXT: e.e. cummings)
Cloudburst (1993, TEXT: Octavio Paz)
With a lily in your hand (1991, TEXT: Federico Garcia Lorca
This Marriage (2004, TEXT: Jalal al-Din Rumi)
Water Night (1995, TEXT: Octavio Paz)
A Boy and a Girl (2002, TEXT: Octavio Paz)
Her sacred spirit soars (2002, TEXT: Charles Anthony Silvestri)
Lux aurumque (2000, TEXT: Edward Esch/Charles Anthony Silvestri)

Amazon.com

Eric Whitacre is one of the leading lights of the choral music scene. The 14 text-centered, emotionally-charged works on this well-filled disc suggest why. Outwardly conservative, his music is full of fascinating harmonic explorations, dynamic shifts, and rhythmic nuances that make them fun to sing and absorbing to listen to. The texts are drawn from poets of the stature of e.e. cummings, Octavio Paz, Garcia Lorca, and Emily Dickinson, among others. And they pack emotional power, as in When David Heard, whose Biblical text is illuminated by powerful tiered dynamics. He's adept at tonal contrasts as well, the soaring sopranos in Sleep have their counterparts in a firm bass line. In Cloudburst he adds piano and percussion to the unaccompanied chorus to dramatic effect, and in some works, such as Cummings' "hope, faith, life, love" he chooses to set only a handful of the poem's text, with harmonic movements and other unexpected twists focusing attention. The fine English chorus, Polyphony, is at their best here, clearly relishing the inventiveness of the music, and the sound is from Hyperion's top drawer. --Dan Davis

Amazon.com

Product Description

At the age of only 35, Eric Whitacre has already gained a phenomenal reputation in the United States. The Los Angeles Times described his music as having â€~electric, chilling harmonies; works of unearthly beauty and imaginationâ€™ and his Water Night (included on this new recording) has become one of the most popular choral works of the last decade, and is one of the top-selling choral publications of all time.

Customer Reviews:

Cloudburst review.......2007-05-31

Amazing music. Absolutely beautiful. If you like choral music and haven't heard this CD then you owe it to yourself to get it.

Awesome Choral A Cappella.......2007-05-07

Almost achingly beautiful harmonies at times...has a modern slant (but not too out there). Superbly written and performed.

Stunning.......2007-05-04

Eric Whitacre has stunning pieces on this CD. I was introduced to the wonderful world of Eric Whitacre during a relaxation session in concert choir. I'm hooked.

The harmonies are incredible! Everything is incredible beyond that of any word of my vocabulary could describe. The chords are so unusual and are seldom heard even in the choral environment. And although the chords may seem to clash at first, they are so phenomenally well written into the songs, making them true works of art.

What I admire the most about this album is that the lyrics are text-based, often from poetry. I've never listened to this type of music before, though I am happy to expand my music tastes beyond the rock & pop I typically listen to.

The lyrics, the notes, the passion; they are all such an inspiration.

Whitacre's work is refreshing. Beautiful........2007-03-22

When I first heard Eric Whitacre's music, it was actually in band when we played one of his more humorous pieces "Godzilla Eats Las Vegas". Later, when I had the priviledge of hearing his choral work, I was instantly in love. His approach to harmony and voice leading is refreshing is such a new, vivid way that I am forced to simply melt at every turn of his music. This CD is worth its weight in gold and I look forward to hearing more of his music.

Overwhelmingly beautiful.......2007-03-13

An absolutely amazing album. You MUST listen to this with a superior sound system.

Average customer rating:

Isserlis puts dance back into the suites
Life is short........get this and start enjoying!

Bach: The Cello Suites

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Brahms: Ein Deutsches Requiem

ASIN: B000OQDV1U
Release Date: 2007-06-12

Tracks:

Prelude (Suite #1 in G major)
Allemande
Courante
Sarabande
Menuet I - Menuet II
Gigue
Prelude (Suite # 2 in D minor)
Allemande
Courante
Sarabande
Menuet I - Menuet II
Gigue
Prelude (Suite # 3 in C major)
Allemande
Courante
Sarabande
Bouree I - Bouree II
Gigue
Prelude (Suite # 4 in E flat major)
Allemande
Courante
Sarabande
Bourree I - Bourree II
Gigue

Tracks:

Prelude (Suite # 5 in C minor)
Allemande
Courante
Sarabande
Gavotte I - Gavotte II
Gigue
Prelude (Suite # 6 in D major)
Allemande
Courante
Sarabande
Gavotte I - Gavotte II
Gigue
The Song of the Birds (Catalan folksong- arranged by Sally Beamish
Prelude from Suite # 1 (from Anna Magdalena manuscript)
Prelude from Suite # 1 (from the John Peter Kellner manuscript)
Prelude from Suite # 1 (from the collection of JOhann Christoph

Amazon.com

The Bach Cello Suites must have been recorded by virtually every great cellist past and present, beginning with Pablo Casals. This new recording by Steven Isserlis must rank among the best, technically and musically. His approach to the Suites is based on a careful analysis of the sources, a study of historical and recent research, and his own instinctive feeling. He explains all this in scholarly liner notes leavened with humor and personal comments. Isserlis describes the Suites as a succession of dances introduced by Preludes to set their mood and tonality. He feels, though, that Bach greatly transcended their dance character, especially in the Sarabandes which, through their depth and expressiveness, form the core of the Suites. Moreover, contemporary scholarship and the Suites' cumulative structural complexity and emotional intensity lead him to believe that, like the violin Sonatas and Partitas, they are connected to specific Church festivals celebrating certain aspects of the Passion story. He especially points to the tragic, oppressive character of No. 5 (the Crucifixion) and the triumphant radiance of No. 6 (the Resurrection), conceived for a five-stringed instrument.

The remarkable thing is that Isserlis brings all this out in his playing. His tone, with sparing vibrato, is warm and austere, dark in the two sorrowful minor-mode Suites, bright in the others. His phrasing is as natural as speech; with perfectly controlled rhythm, the dances really dance. Voices stand out like threads in a tapestry. Bach's own manuscript having been lost, Isserlis adds three versions of the first Prelude taken from the earliest copies, and honors Casals with "The Song of the Birds," a Catalan folksong closely associated with him. Lovers of Bach and great cello playing must not miss this recording. --Edith Eisler

Customer Reviews:

Isserlis puts dance back into the suites.......2007-07-27

I like the way Steven Isserlis phrases Bach's Cello Suites. He understands the arc of the melody, the breath and swing of each piece, taking these Menuets and Gigues back to their dance roots. His sound is a bit chalky, nicely so, sometimes touching a pedal note just shy of full resonance. There is a sense of fiddling to his technique. It's a fun recording, well worth the listen.

Life is short........get this and start enjoying!.......2007-07-26

You will love this recording! It's truly the most sincere and beautiful playing of the Suites I've ever heard. Steven Isserlis always gets it right. But be warned - you won't get a thing done for awhile, because you'll want to listen to these over and over! The music will draw you in, and you'll find yourself thinking about the beauty of the Suites even after you've finished listening. My advice - turn it back on!

Average customer rating:

Impressive technique, but missing Haydn's genial spirit
Where's the fire?
The Fastest Haydn Sonatas Ever Recorded in the Guiness Book of Records
Evocative of absolutely nothing save Hamelin's fingers.
Hamelin Does it Again!

Haydn: Piano Sonatas

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Rameau: Keyboard Suites

ASIN: B000N2H832
Release Date: 2007-04-10

Tracks:

Allegro
Adagio
Allegro Molto
Allegretto Innocentemente
Presto
Allegretto Moderato
Adagio
Finale: Presto
Allegro
Allegro Di Molto
Allegro Moderato
Adagio
Finale: Presto

Tracks:

Moderato
Adagio
Finale: Presto
Moderato
Menuetto-Trio-Menuetto Da Capo
Rondo: Presto
Allegro
Adagio
Finale: Presto
Allegro Moderato
Menuet
Finale: Presto
Allegro Con Brio
Largo E Sostenuto
Finale: Presto Ma Non Troppo

Customer Reviews:

Impressive technique, but missing Haydn's genial spirit.......2007-07-11

Almost all of Haydn's artistry is richly rewarding, and I encourage everyone with an interest in Classical music to acquaint themselves with his welcoming genius. Haydn's gift for lapidary musical invention seems nearly inexhaustible, and his piano sonatas are yet another genre where his creativity can be easily approached and enjoyed. I'm grateful to Marc-Andre Hamelin for recording these neglected sonatas with splendid panache, bringing them fresh to an appreciative audience. However, I sometimes feel that Haydn's music is performed skillfully, though without the breadth of humane sympathy it deserves, and I suspect that the full wealth of Haydn's craft is not quite arrayed, here. I won't find fault with Hamelin's talents as a pianist, which are brilliantly polished, nor do I mean to be glib with my critique, but I will say that stylistically, his renderings sound to my ears more like caffeinated Chopin rather than Franz Josef's neo-Classical poise, humor, verve and endearing warmth. I first fell in love with Haydn's piano music through the performances of Bart van Oort, on pianoforte (Brilliant Classics label) and John McCabe, on modern piano (London/Decca label). Unfortunately, these recordings seem to be available only as complete sets of the Haydn sonatas, which would be too great an investment for most listeners. A relatively inexpensive introduction to the abundant pleasures of Haydn's piano pieces can be found through the recordings of Alfred Brendel, such as this album available here on Amazon: Haydn: 3 Piano Sonatas; Fantasia in C; Adagio in F. Brendel's performance is erudite and heartfelt, if somewhat romantic. For pianism that is a bit closer to the sound-world of 18th-century Austria (yet played on modern instruments) both Andras Schiff Haydn: Piano Sonatas and Leif Ove Andsnes ~ Haydn - Piano Sonatas can be recommended.

Where's the fire?.......2007-06-23

Marc-Andre Hamelin's twofer of Haydn piano sonatas details most of the master's later sonatas in stylisitic performances that sometimes get a bit too dramatic and use too much pedal. Hamelin is a world-class player recorded well here who has some affinity for this music. My principal question when listening to these is, "Where's the fire?" Hamelin uses tempo more attuned to the keyboard music of Antonio Vivaldi, had he written any, than the witty and relaxed Josef Haydn. For all his fine quailties, Hamelin simply plays too fast too often, as if he's trying to set some sort of world speed record.

I recommend anyone looking to invest in a two-CD set of Hadyn sonatas to first sample the classic set by Alfred Brendel that's been around more than 20 years. He is more mature and more temperate playing than what's provided by this viruoso. Brendel is expert in this repertoire and always adheres to Haydn's style and temperament. Some other famous players have done well with these sonatas, also. Sviatoslav Richter loved Haydn and recorded many of the sonatas on concert and studio recordings over his career. Virtuoso colorist keyboard virtuoso Mikhail Pletnev recorded a handful of the sonatas including one of the best versions of the "English" sonata ever recorded. Try his recordings on Virgin and compare them to Hamelin, who is a fine player but is intemperate.

The Fastest Haydn Sonatas Ever Recorded in the Guiness Book of Records.......2007-06-19

I've to second AllOverWith's review of Hamelin's Haydn and I have nothing much to add that has not been said.

Four positive, five-star reviews had prompted me to listen again - just to the entire first-movement of the last C major Sonata. I thought I could be wrong - that there could still be something that I could savour from the recording. Maybe something that I've not expected.

At such breakneck speed, I thought I was just treated to a whirlwind of notes, smacked together in a fraction of a second; it made little sense to my mind's ear, even less so to speak of a nuanced interpretation.

If the whole point of this other set of Haydn sonatas in the market is to prove something that prior recordings haven't, Hamelin has certainly done it - purely in terms of speed. If anything else there's probably little that has not been already said.

Initially I gave five out of five stars unintentionally and wanted to leave it as it is, but thought it would be construed as either contrary to my views or an overly deliberate attempt at sarcasm.

So I gave two stars for the interpretation and an additional star for those who value pyrotechnics and how fast these pieces could go.

Evocative of absolutely nothing save Hamelin's fingers........2007-06-18

Okay, time to bring the hyperbole down a notch. It seems that no matter what Hamelin does he's lauded to the skies, which strikes me as a fair assessment of the soullessness of the age. Look at the guy -- he's an accountant! And this is not piano playing, it's note-tabulating. These performances of the Haydn piano sonatas feel like butterflies pinned to a board of cork. Facile technique for the sake of facile technique. Sometimes that can work, like in the Medtner sonatas, where just playing the notes correctly will suffice -- since no one else can do it -- but here, in Haydn, it feels almost contemptuous. Hamelin seems to take on faith that there is no depth, nothing of importance to be found in these pages, that these are antiques that he's only dusting off to show how his nimble sausage-fingers can make ANYTHING interesting. Wrong.

Haydn was well known for having a story in mind for almost every piece he wrote. His sonatas are far from all-purpose baroque filigree like Scarlatti; they are miniature dramas. Though we'll never know those stories, what's important is that the impression be given of Haydn's personality ( a doddering yet youthful-spirited old man, occasionally getting mildly excited by memories, then becoming mildly depressed at his current situation, but remaining generally optimistic. ) I defy you to find anything less personal than the impression Hamelin gives on this CD. He literally sucks the breath out of these pieces, vampirizes them, reduces them to "sewing-machine music," to quote Gould on Bach. The arrogance with which he jumps from Scriabinite tripe to Haydn as if it's all the same to him, as if he doesn't even have to make the effort to immerse himself in an entirely different mindset, is off-putting in the extreme.

You can't take a bullet train if you want to see the countryside, and Ronald Brautigam on BIS gets so much more out of this music that it's ludicrous to even compare the two. This thing puts me to sleep.

Hamelin Does it Again!.......2007-06-18

Marc-Andre Hamelin is, arguably, the finest pianist performing today. His choice of repertoire is unfailingly interesting. This CD, as many other reviewers have indicated, might seem to be a surprise at first - Hamelin and Haydn? - yet this apparent difficulty resolves itself easily. Haydn was one of the giants of music. His influence on Beethoven is profound. He continued to grow as a musician and composer right up until he died. His piano sonatas are unfairly overshadowed by Mozart's essays in the form. Yet, I would agree with the late Glenn Gould that Haydn writes more effectively and interestingly for the instrument. Unlike Mozart, who was considered a virtuoso and had something to lose by learning from a rival, Haydn did not hesitate to learn from the new virtuosity that Clementi was bringing to the instrument and a number of these (especially the later sonatas) are brusing knuckle dusters. It is ironic that nothing I have heard from Hamelin in years displays his exceptional gifts so well as these CDs of Haydn sonatas. The clarity, brio, precision and taste are extraordinary. These are the finest recordings of Haydn sonatas that I have ever heard. And this is a superior value. Hyperion has given you two CDs for the price of one. I hope that Mr. Hamelin records more Haydn. Buy this, you will not be sorry.

Average customer rating:

Any Lauridsen is Good Lauridsen
SAME STUFF
Superb recording of Lauridsen's choral works
an old fan
Deeply Mixed Feelings

Morten Lauridsen: Nocturnes

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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Similar Items:

Eric Whitacre: Cloudburst and other choral works
Morten Lauridsen: Lux aeterna
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Lighten our Darkness
Lauridsen: Lux Aeterna, etc. / Salamunovich, Los Angeles Master Chorale

ASIN: B000KGGHTW
Release Date: 2007-02-13

Tracks:

Lament for Pasiphae (Mid-Winter Songs- Robert Graves)
Like Snow
She tells her love while half asleep
Mid-Winter Waking
Intercession in Late October
En une seule fleur (Les Chansons des roses - R.M. Rilke)
Contre qui, rose
De ton reve trop lein
La rose complete
Dirait-on
I will lift up mine eyes
O come, lut us sing unto the Lord
Ave, dulcissima Maria
Sa nuit d'ete (Rilke) (Nocturnes)
Soneto de la noche (Neruda)
Sure on this shining night (Agee)

Amazon.com

Morten Lauridsen's choral music is well-rooted in both early music and Renaissance polyphony, but he is not one of the so-called "holy minimalists" whose very sounds are reminiscent of centuries-old music. He is American and approaches the past as a building block; he may use old techniques but his voice is original, lyrical, and easy to take, without ever seeming simple-minded. He writes so the texts can be understood - here he uses words by Robert Graves, Rainer Maria Rilke, Pablo Neruda and James Agee and throws in some non-secular psalms and a Latin motet, "Ave, dulcissima Maria." This last is a piece of great tranquility scored for male chorus, with a set of finger cymbals played by Lauridsen himself (he plays piano elsewhere on the CD). The group Polyphony, under Stephen Layton, performs all these works with impeccable pitch and diction; the fives poems by Rilke about roses are particularly handsome. He uses vast variations in dynamics almost ochestrally and the effect is marvelous - large crescendos excite and sustained soft singing soothes. There's nothing here that will jar the listener - Lauridsen's dissonances are at the service of the text and are normally quickly resolved. Fans of choral music should know what this composer (born in 1958) is up to - his music is both interesting and sheerly pleasurable. --Robert Levine

Album Description

Morten Lauridsen's choral music performed by Polyphony with Stephen Layton, conductor. Works on this disc include Mid-Winter Songs, Les chansons des roses, I will lift up mine eyes, O come, let us sing unto the Lord, Ave, culcissima Maria, and Nocturnes. Texts are from various poets, including Robert Graves, Rainer Maria Rilke, Pablo Neruda and James Agee.

Customer Reviews:

Any Lauridsen is Good Lauridsen.......2007-05-12

Though some of what's on this CD has appeared on his other CDs, there is new material here too and it's very nice.

SAME STUFF.......2007-05-06

I love his music however this CD is just a repeat of what I already have. The nocturnes are new but they are short. The rest of CD is filled up with repeat pieces. Wish he would write enough for a whole new CD.

Superb recording of Lauridsen's choral works.......2007-03-31

The recent recording of Morten Lauridsen's choral works entitled "Nocturnes" (Hyperion label) should be nominated for a Grammy. Stephen Layton's group, Polyphony, in collaboration with the composer and the Britten Sinfonia, have produced one of the most stunning choral CDs I have ever heard. Serious music lovers, not just choral/vocalists, should add this to their library.

Jim Dearing, Director of Choral Studies
Indiana University of Pennsylvania

an old fan.......2007-03-23

I "grew up" singing Lauridsen and am a huge fan of his earlier works (Madrigali, Mid-Winter Songs - piano version). I sang in the Los Angeles premiere of the Les chansons des roses and Nocturnes under the direction of Don Brinegar. I don't particularly care for Lux aeterna, the sound of Polyphony nor Layton's interpretations. To me, Polyphony has an unrelaxed sound and Layton takes music on the slow side like Robert Shaw [hearing that Lauridsen played on these recordings, I'm surprised he let the music go as slowly as he did. Having worked with him, he always wanted to make sure we kept up the tempo to reflect the joyous nature of the text. But he is an exceedingly kind man and even with us, I think he let things slip by like us slowing down on the Ubi caritas recording on Northwest Journey]. My lowered rating is more reflective of the performance and not the music itself. I know my feelings are quite the opposite of many out there but now you know where I'm coming from. So here's what I think:

I "didn't get" Soneto de la noche when we first rehearsed it. I thought it didn't suit the remakable text. But after weeks of singing it, I began to understand the interpretation. It is also important to know exactly what is being sung at the specific time in the music. The piece starts off somber but becomes rapturous when speaking of the delights of life and love and grows when it describes the flowers blooming. It's not the direction I would have gone but in the end, I do like it. And I think Sa nuit d'été "shimmers" as it should. Sure on This Shining night is as uninteresting to me as Dirait-on and Lux aeterna.

I'm glad to know that his earlier music is being unsurfaced. If you heard the Four Madrigals on Renaissance Texts, you might be surprised, disappointed, delighted, who knows?

Deeply Mixed Feelings.......2007-03-15

There are some strong reasons to buy this CD. The Mid-Winter Songs and Les Chansons des Roses are wonderful song cycles, Polyphony is as good a choral ensemble as exists, and here you will find them at the top of their game. Unfortunately, there also are strong reasons to leave this CD on the rack, and Lauridsen's Nocturnes provide two of them.

The Nocturnes are choral settings of three superlative lyrics: "Sa nuit d'ete" by Rainer Maria Rilke, "Soneto de la noche" by Pablo Neruda, and "Sure on this shining night" by James Agee. The Agee nocturne is a worthy effort, but to my ears the other two are crushing disappointments: uninspired music (at best) that doesn't approach the stature of the lyrics and isn't worth a second listen. The first time I listened to them I was stunned and sadly surprised by how bad I thought they were. The Rilke nocturne compares very unfavorably with the Chansons des Roses (which also are settings of Rilke's poetry), and the Neruda was, to my ears, an unbelievable botch of an extraordinary text. (Summary of long argument: I think Lauridsen's music is badly suited to the lyric, which I think he has misinterpreted, and nothing to write home about otherwise.)

I've seen this music reviewed favorably elsewhere, so as a check to my opinion I consulted a close friend, a former student of Lauridsen's at USC who was present at the Los Angeles premiere of the Nocturnes. The (slightly edited) response:

"When I heard the premiere, I was extremely disappointed. When I heard about the interesting new texts he was using ... I hoped he would break away from his safety net and do something new -- let the texts lead him somewhere else. But he didn't. The whole performance, I and [my friends] kept looking at each other in disappointment. I didn't even have the heart to talk to Dr. Lauridsen after. I haven't heard the pieces since, or ever looked at them. ... To tell you the truth, I was embarrassed
for him at the time. ...

"I guess he's afraid to go in a direction that won't get him the accolades of the masses, but if he doesn't, he will lose all his respect as a good
composer..."

At least I'm not alone, and the texts *are* interesting, but hardly a reason to buy this recording. It's clear that Lauridsen's on the decline. At times his superb craftsmanship -- all of his works are written meticulously -- and adherence to a well-proved formula can still result in memorable music, but too often now these aren't enough to overcome a basic lack of inspiration.

As a believer in free-market economics, I advise leaving this one on the shelf, so as to not encourage Dr. Lauridsen to produce more of the same.
But you might like the Nocturnes better than I do, 12 of the 16 tracks (the two earlier song cycles, the Ave Dulcissima Maria, and the Agee nocturne) are worthwhile, and Polyphony is wonderful -- but there are other fine recordings of this music, and an expanding list of Polyphony CDs that might be a better investment of your money and time.

Average customer rating:

Hyponotic music from an early great composer
One of my favorite albums of all time.
Luminous
Heavenly
Short, but still the very best of Hildegard of Bingen. Buy It.

Feather on the Breath of God

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

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General | Opera & Vocal | Styles | Music

Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Kirkby, Emma | Divas | Opera & Vocal | Styles | Music

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Hildegard von Bingen: Canticles of Ecstasy
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ASIN: B000002ZGD
Release Date: 1993-09-01

Tracks:

Sequentia de Sancto Maximo: Columba aspexit
Ymnus de Sancta Maria: Ave, generosa
Sequentia de Spiritu Sancto: O ignis spiritus
De Sancto Ruperto: O ierusalem
De sancto Euchario sequentia: O Euchari
De Sancta Maria: O viridissima virga
Sequentia de Sancto Dysibodo: O presul vere civitatis
De Undecim Milibus Virginbus: O Ecclesia

Amazon.com essential recording

This is the record that started the Hildegard craze back in 1982--and you need only listen to Emma Kirkby glide and soar through Columba aspexit (the opening hymn) to understand why. Gothic Voices performs the music very simply, either alternating soloists and unison choir over a drone or using a single unaccompanied voice. The singers render Hildegard's extravagant poetic imagery and melody not with the rhythmically fluid, ecstatic approach favored by Sequentia, but with equalist rhythm and a calm, meditative quality. Gothic Voices' straightforward approach is less likely to send you into a rapturous trance than is Sequentia's, but in the hands of such fine singers as Kirkby, Margaret Philpot, and Emily van Evera, Hildegard's extraordinary texts and melodies are captivating--and clear enough to linger in the memory as melodies rather than just sensations. This record is still Hyperion's bestselling title by far--try it and find out why. --Matthew Westphal

Customer Reviews:

Hyponotic music from an early great composer.......2007-03-10

The Abbess Hildegard of Bingen wrote hypnotic, haunting music a thousand years ago (she lived from 1098-1179). The notes from this CD state that: "This recording draws upon Hildegard's large collection of music and poetry. . .which she continued to enlarge and enrich throughout her life. It contains some of the finest songs ever written in the Middle Ages. . . . The songs are conceived on a large--sometimes a massive--scale; it is in superabundance that Hildegard found herself both as poetess and composer." Hers is a very different style of music from what we are used to today. And the voices of Emma Kirkby and "Gothic Voices" (a group) appear to capture the spirit and soul of this music well.

Kirkby has a crystalline clear and clean voice. In "Columba aspexit," Kirkby and supporting voices paint a musical tapestry that is hypnotic (a common phrase that can be used across the songs). In "Ave, generosa," Kirkby sings the hymn solo and without any instrumental backing. An enchanting piece. Three tenors from "A Gothic Voice" essay "O ignis spiritus." Their voices meld together well and their take on this has a spiritual element. A final example (no need to mention each of the cuts on the CD). . . . "O Jerusalem" features both Kirkby and some members of "A Gothic Voice." The voices play off one another well. Another nicely done work.

This is a good introduction to ancient but interesting music. Kirkby once again shows her skills off to good effect, with an assist from "A Gothic Voice."

One of my favorite albums of all time........2007-03-06

This is the best Hildegard von Bingen recording I have heard. It features the marvelous English soprano, Emma Kirkby.

This is an older recording. I first bought the album on vinyl. I bought it again on CD. Now it is in heavy rotation on my ipod. This is simply one of the best pieces of vocal music ever recorded, any age, any genre.

Enjoy.

Luminous.......2006-11-27

Landmark recording of the early Kirkby glorying in this beautiful music. Ears that can do East and West may like to sample 'Shruti' by Sangeeta Bandyopadhyay - a similarly evocative and remarkable recording.

Heavenly.......2006-11-15

This CD is a Masterpiece. I often play this before I go to sleep. If you want a CD that will totally relax you and clear your sole then you can't go past this great piece of work. The music and voices are Heavenly. I really admire Hildgard and her work. She was very ahead of her time. I very highly recommend this CD to anyone who loves beauty.

Short, but still the very best of Hildegard of Bingen. Buy It........2005-12-20

'A feather on the breath of God' is a performance of eight 'Sequences and Hymns' by Abbess Hildegard of Bingen' which has been lauded by Gramophone Magazine as a 'Best of' in the year it was released.

I have heard two other performances of Hildegard of Bingen compositions and to my amateur ear, these are the best. With soloist Emma Kirkby plus the instrumental backup, they are certainly more interesting than the a capella treatment by the Anononymous 4.

Very highly recommended.

Average customer rating:

IMPRESSED
St. Paul's Cathedral ImpressiveCollection of Anglican Hymns
Excellent Cathedral Organ & Choral
LACK OF DICTION?!!!
Marred by lack of diction

The Music of St. Paul's Cathedral

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004U2KC
Release Date: 2000-08-15

Customer Reviews:

IMPRESSED.......2007-05-21

AS A FIRST TIME BUYER AT AMAZON,I AM IMPRESSED AT THE QUALITY OF CD AND TIME OF SERVICE

St. Paul's Cathedral ImpressiveCollection of Anglican Hymns.......2007-01-24

St. Paul's Cathdral is the second largest cathedral church in the basilican style, exceeded only by St. Peter's Rome. New York City's St. John the Divine is larger than St. Paul's, but with decidely gothic elements. All three cathedrals have fine choirs, but St. Paul's and St. John's continue the noble and unique sound of boys and men in the English tradition. St. Paul's great organ is one of the world's finest, with a decay of seven seconds. The great hymns are all here, conducted by John Scott, only recently appointed organist of St. Thomas' Church, Fifth Avenue, New York City. This is a recording will a be prized addition to your library of choral music. You will not be disappointed.

Excellent Cathedral Organ & Choral .......2006-02-24

This selection of recordings by The Choir of St. Paul's Cathedral contains pieces representative of traditional Anglican musical liturgy. The technical aspects of this production on compact disk seem to be outstanding, but beware that the original recordings were in some cases less than stellar. Another reviewer points out that on some tracks the lyrics sung by the choir are overwhelmed by the superb organ playing, which no doubt occurred due to inadequate microphone placement during the recording sessions. That said, I nevertheless rate this presentation of the St. Paul's Choir highly. It provides a mixture of musical types. In addition to the choir, the CD presents the work of four organists, including a marvelous organ solo, as well as several pieces sung a cappella by the choir and its boy treble soloists. I especially recommend this choir's rendetion of Gregorio Allegri's "Miserere," which features the voices of two boy trebles, a boy alto and a bass, which yeilds a mesmerizing experience. Unless one is acquiring full sets of the St. Paul's Choir's music, this compact disk should delight anyone interested in traditional cathedral organ and choral music.

LACK OF DICTION?!!!.......2003-11-12

Obviously the individual who wrote the review including the "marred by lack of diction" remark is not too familiar with the traditional boychoir sound. I am moved to sickness that they were so openly compared with the sound of the all-too-familiar MTC. THOSE WERE ADULTS!!! These are boys! Boys cannot give the kind of sound of the MTC because their voices are not developed enough. The greatest hope a boychoir has of wowing audiences is in their contrast in dynamics. They model this beautiffully in their acapella pieces. In their accompanied pieces, I feel they hold their own above the (sometimes blearing) organ.
Know the genre a little better before you slander a great performance.

Marred by lack of diction.......2003-04-22

The singing is beautiful, melodious and full of harmony. The organ would make Bach proud.

But the lyrics do not stand out. In fact, they are obliterated by the surrounding melodies.

I hate to do this, but I am comparing with the Mormon Tabernacle Choir. These little boys would learn from them.

Tracks:

Allegro (Piano Sonata in D Major "Pastoral" Op. 28)
Andante
Scherzo: Allegro vivace
Rondo: Allegro ma non troppo
Grave- Allegro di molto e con brio (Piano Sonata in C minor "Pathetique"
Adagio cantabile
Rondo: Allegro
Allegro con brio (Piano Sonata in C Major, Op. 2, # 3)
Adagio
Scherzo: Allegro
Allegro assai

Average customer rating:

Lux aeterna
Mindbendingly beautiful
Crystal-clear performances bring out real beauty
Proving the Durability of a Modern Masterpiece

Morten Lauridsen: Lux aeterna
Morten Lauridsen , Stephen Layton , and Polyphony
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Christmas Present From Polyphony
Eric Whitacre: Cloudburst and other choral works
Lauridsen: Lux Aeterna, etc. / Salamunovich, Los Angeles Master Chorale
Morten Lauridsen: Nocturnes
O Magnum Mysterium

ASIN: B0007GP69W
Release Date: 2005-02-08

Customer Reviews:

Lux aeterna.......2007-05-16

I really loved this cd it is very beautiful . As a singer I have sang selections of these in Latin

Mindbendingly beautiful.......2007-01-24

Gorgeous music. Hard to believe it is contemporary with its chant and canon like qualities, but the real accomplishment of the composer is that he creates such harmony and melody with dissonance and modern chord structure. This music healed every cell in my body and soul.

Crystal-clear performances bring out real beauty.......2006-03-16

When I first heard Lux Aeterna performed, I immediately went out and purchased the premier recording, performed by the Los Angeles Master Chorale under the direction of Paul Salamunovich. I still enjoy that recording, though it is at times dark and quite thick. This new recording by Polyphony and the British Sinfonia moves the work from a rich romantic full choir to a more personal and intimate chamber ensemble. The differences are stunning. While the LAMC's recording melts the harmonies into one rich, thick sound, Polyphony's recording showcases each and every line, part, and harmony. In addition, The chamber sound is well-suited for the madrigali, especially so for Ubi Caritas et Amor.

As a chorister, I can affirm that Lauridsen's compositions are a joy to sing. But they are just as suited to listening. His compositions bring out the best of the choral genre, and this recording showcases that beautiful writing behind the strength of pure tone and clean diction. While this CD would make an excellent companion to the original recording of Lux Aeterna, it also stands quite well on its own.

Proving the Durability of a Modern Masterpiece.......2005-07-24

Morton Lauridsen is a fine composer whose works for chorus and orchestra are among the best being composed today. Since the premiere of his now famous 'Lux aeterna', a repertoire staple with the Los Angeles Master Chorale and Orchestra, this incredibly moving work has enjoyed frequent performances not only in the United States but with European ensembles as well.

This wondrous recording features Polyphony with the Britten Sinfonia under the baton of Stephen Layton. The title piece grows in stature with time and in this performance the myriad subtexts are more clearly defined. Lauridsen tends to write thick choral sounds and while these are organ-like in their beauty, Layton clarifies the more dense sections of the work and the result is illuminating. For the more massive, darker sound the Los Angeles Master Chorale under Paul Salamunovich still satisfies: it is nice to have the 'big' sound along side the 'chamber' sound.

Added bonuses on this recording are the six 'Madrigali', the 'Ave Maria', 'Ubi caritas et amor', and 'O magnum mysterium', each of which are given superlative performances. The recorded sound is crystal-clear without losing resonance. For those who hold the 'Lux aeterna' in high esteem this is a recording that should be along side the original. As for those to whom Lauridsen's name is unknown, this beautiful recording is a fine introduction to an important composer. Highly Recommended. Grady Harp, July 05

Praise to the Lord - Hymns From St. Paul's Cathedral

Average customer rating:

a voice teacher and early music fan
Hymns for every one
Super Praise!

Praise to the Lord - Hymns From St. Paul's Cathedral

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00002EIUG
Release Date: 1999-10-12

Customer Reviews:

a voice teacher and early music fan.......2007-02-09

'The HYMN-a word derived from the Greek 'hymnos'-has been defined as 'a term of unknown origin applied from ancient times to a wide variety of songs in honor of gods, heroes or notable men.'
The founder of English hymnody is Isaac Watts (1674-1748), whose work in reforming congregational song texts culminated in the publication of his 'Hymns and Spiritual Songs' in 1707. Watts' collection was as complete and comprehensive a set of hymns as had ever been proposed for English worship and it raised the profile of the hymn sufficiently to overcome the prevailing psalmody. The great flowering period of English hymnody began with the work of the Methodist hymn-writers John Wesley (1703-1791) and his brother Charles (1707-1788). The Wesleys gave great prominence to hymns within their Methodist worship and published many books.
The modern hymn book is a collection of hymns drawn from various times and places. This most accomplished recording by St. Paul's Cathedral Choir presents 16 well-loved hymns from 'The New English Hymnal'. A great number of the hymns, which originate from many different eras and traditions, are given an extra musical dimension by John Scott's original descants and thrilling brass arrangements.
Over the years, I have found myself purchasing mostly the recordings of English choirs. They seem to have incredible vocal skills, perfectly executed phrases, flawless diction and some unidentifiable ingredient that makes them very appealing to hear. Of course, I personally enjoy the all male choirs sound; boy sopranos and male altos make the difference. This is a very appealing group of hymns!!!!!

Hymns for every one.......2002-12-01

As I have said already..I am from espiscopal church..these my songs are well know by me...these songs give encouragement when it seems that all hope is lost..these are tunes that are well received....they are also very simple for the every day person to gain strength from day to day..they will become your daily prayer.....

Super Praise!.......2000-06-10

Praise The Lord offers the listener traditional hymns in the English/British tradition. the clarity of the voices make it possible for the listener to follow the words distinctly. The organ soars as accompaniment. the CD provides organ and choral quality for the novice and the experienced musician.

Alkan: Grande sonate 'Les quatre âges', Sonatine, Le festin d'Esope

Average customer rating:

Truly Virtuosic
One of the best solo piano recordings ever made.
so fast it misses the point
An Inimitable Masterpiece
Astonishing technique

Alkan: Grande sonate 'Les quatre âges', Sonatine, Le festin d'Esope
Charles-Valentin Alkan , and Marc-André Hamelin
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

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ASIN: B000002ZW4
Release Date: 1995-08-22

Tracks:

Grande Sonate 'Les Quatre Ages', Op. 33: 20 ans. Tres vite
Grande Sonate 'Les Quatre Ages', Op. 33: 30 ans, Quasi-Faust. Assez vite
Grande Sonate 'Les Quatre Ages', Op. 33: 40 ans, un menage heureux. Lentement
Grande Sonate 'Les Quatre Ages', Op. 33: 50 ans, Promethee enchaine. Extremement lent
Sonatine, Op. 61: Allegro vivace
Sonatine, Op. 61: Allegramente
Sonatine, Op. 61: Scherzo-Minuet
Sonatine, Op. 61: Tempo giusto - Coda
Barcarolle, Op. 65, No. 6
Le Festin d'Esope, Op. 39, No. 12

Customer Reviews:

Truly Virtuosic.......2007-05-14

The piano music of French Romantic composer Charles-Valentin Alkan is not for everyone. It would never be described as "easy listening." In fact, listening to Alkan's music, especially the first time, requires an effort almost as great as playing other music. Repeated hearings allow one to penetrate the intensity and appreciate the incredible complexity of the compositions, though it is reported that some listeners find the music too unsettling to ever enjoy. Certainly all will find that the music on this CD evokes a wide range of reactions.
If Alkan is a virtuoso as a composer, than the pianist on this CD, Canadian Marc-Andre Hamelin, is equally great. Few pianists are up to the task of performing Alkan's music. Of those, Hamelin must be the best. His playing skills and understanding of the heart of the music make this a truly exceptional CD.

One of the best solo piano recordings ever made........2005-05-22

This disc is totally astonishing. One you start listening to it you will not be able to stop. The Grande Sonate is one of the most beautiful, moving, complex pieces of music for solo piano ever written. Hamelin brings it to life like no one else can. If you have never listened to Alkan, this is a fine introduction to some of the greatest (and most forgotten) piano music ever composed. And if you have never listened to Hamelin - this is probably his greatest work ever. The more you listen to the Grande Sonate the more you discover in it. You wait for those dramatic, breathtaking moments. You marvel at how two human hands can produce these sounds through the piano, and you continually find more subtlies and nuances in this materpiece. Words fail in describing how great this recording is. If you love piano music - get it. It you love Alkan it is truly a must.

so fast it misses the point.......2005-05-20

Much of Alkan's music is vacuous. This is not to dismiss its value, but it is to say that there is much which is of interest because of the technical demands and effects which are on display, and the apparent challenge and impressiveness which these incur. The Grande Sonate stands alone as being altogether different. It is a poetic masterpiece. It is a misconception to regard Alkan as being simply a composer of pyrotechnical virtuosity, even if it is a common and understandable one. What is unforgiveable is to treat the Grande Sonate in the same way as one might approach 'Comme le Vent', 'le Chemin de Fer', the 'Scherzo-Focoso' or any other piece which is clearly reliant on a stringent adherence to tempo and little in the way of expressive variation. Is it sensible to condone a performer who does this? One who plays note-perfectly at an astonishingly fast pace, yet who does not take the requisite time to bring out the almost infinitely complex and inter-related themes, motifs, ideas that inhere the piece? If you are interested in hearing someone play challenging music very quickly then buy this recording. If you want to hear what is arguably the most original work of solo piano writing to come out of the nineteenth-century performed with all the poetic nuance that it deserves, then buy Pierre Reach's stunning recording. Hamelin is an incredibly athletic and gifted pianist, and perhaps an ideal exponent of Alkan, but the Grande Sonate deserves a more patient and respectful approach, and this is not to be found on this recording.

An Inimitable Masterpiece.......2004-06-30

There are special moments in life when you remember exactly what you were doing when it happened. I remember exactly what I was doing when I first heard Bruckner's Eight (Guilini), Mahler's Second (Bernstein), Liszt Sonata (Horowitz), Gaspard de la Nuit (Michelangeli), and I can still hear to this day Richter's Schuman Symphonic Etudes, just to name a few. They were all life-changing events. My friend and I were having dinner when Hamelin's Grande Sonata appeared from the radio. Wow! I remember asking, "What crazy person had the nerve to compose this?", and more importantly, "Who on earth had the gall to record it?" Up to this faithful day in 1995, I had never heard of Hamelin or Alkan.
On this disc, Hamelin plays with so much elan, control, and technical ease that it leaves you breathless. Although the legendary Raymond Lewenthal and the late Ronald Smith have to be commended for their efforts in popularizing Alkan's much-neglected music, I believe Hamelin and this disc has been even more influential. I don't know if Alkan playing on this disc will ever be matched. This is certainly one of the greatest albums in history and should be part of the collection of all true classical music fans.

Astonishing technique.......2004-05-23

Marc-Andre Hamelin is an astounding virtuoso. He gives life to Alkan's works, which I hear for the very first time! It is really mind-boggling how he succeeds in tackling the Augean stables of the eight-part fugue at the end of Quasi-Faust!!!
It is no wonder, then that even Liszt was afraid to compete with Alkan, whom he deemed a superior virtuoso to himself. Alkan's music in itself has a tremendous intrinsic value, which, if one can feel, describes to such depth the essence of the human soul!

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