Some Voices [EP]

Track Listings
 
1. Some Voices
2. Trainer
3. Manchuria
4. June

Some Voices,Pinback,Absolutely Kosher,Electronic,Indie Pop,Pop,Rock,Rock/Pop

Some Voices [EP]

Some Voices [EP]
Instruments of the Orchestra
Average customer rating: 4.5 out of 5 stars
  • Instruments of the Orchestra - Great Reference Material!
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  • Excellent Intro for Those Not Familiar with the Orchestra
 Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
  2. The Mahler Symphonies: An Owner's Manual (includes 1 CD)
  3. The Young Person's Guide to the Orchestra (Book & CD)
  4. Study of Orchestration, Third Edition
  5. The Life and Works of Ludwig van Beethoven

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

5 out of 5 stars Instruments of the Orchestra - Great Reference Material!.......2007-04-04

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

5 out of 5 stars Beginner or Expert.......2007-03-12

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

5 out of 5 stars Very Informative and Enjoyable.......2006-11-20

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

3 out of 5 stars Frank's view.......2006-08-19

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

5 out of 5 stars Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

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

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

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

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Stephen Foster Songs: Parlor & Minstrel Songs, Dance Tunes & Instrumentals
Average customer rating: 5 out of 5 stars
  • Amid fine work, a new star!
  • Stephen Foster Would Be Proud
  • Foster at his simple best
  • Well-rounded and convincing
 Stephen Foster Songs: Parlor & Minstrel Songs, Dance Tunes & Instrumentals

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

PolkasPolkas | Ballets & Dances | Classical | Styles | Music
Foster, StephenFoster, Stephen | ( F ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Chamber MusicChamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
Vocal & SongVocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Folk | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
GeneralGeneral | Pop | Styles | Music
GeneralGeneral | Vocal Pop | Pop | Styles | Music
Similar Items:
  1. Songs by Stephen Foster, Vol. 1-2
  2. Swanee: The Music of Stephen Foster
  3. Stephen Foster's America
  4. Stephen Foster Song Book
  5. American Dreamer: Songs of Stephen Foster; Thomas Hampson; Jay Unger; Molly Mason

ASIN: B0000049NP
Release Date: 1995-07-28

Tracks:

  1. The Glendy Burke
  2. Nelly Was A Lady
  3. Melinda May
  4. The Soree Polka
  5. The Moustache Song
  6. O Willie, Is It You, Dear?
  7. Mr. & Mrs. Brown
  8. Gem From Lucia No.1
  9. Wilt Thou Be Gone?
  10. The Voices That Are Gone
  11. Ole Black Joe
  12. Maggie By My Side
  13. Camptown Ladies
  14. Hard Times
  15. Gems From Lucia No.2, No.3
  16. The Shanghai Chicken
  17. Beautiful Dreamer
  18. Ah! May The Red Rose Live Away
  19. Nelly Bly
  20. I Dream Of Jeannie
  21. O Susannah & Some Folks

Customer Reviews:

5 out of 5 stars Amid fine work, a new star!.......2004-09-28

Baird, Russell and Van Buskirk give fine performances in a splendid
program, but tenor Frederick Urrey [his Foster recording debut?] is a sensation! A glorious voice, with a perfect command of style in
operatic, ballad, ensemble and even comic scenes, his Melinda May is breathtaking, his Beautiful Dreamer is the best on records, his
duets charm and his drunken husband is a gas! He has it all!! In my 25 years of total immersion in Foster and his era, I have never
even dreamt of hearing an artist of such stature. Foster was said to have a fine voice and to sing his music better than any other.
I pray we now hear more of SF's songs as he must have sung them!

5 out of 5 stars Stephen Foster Would Be Proud.......2004-02-26

Linda Russell is a remarkable woman. I have every CD she has done and I've never been disappointed in the high quality recordings she releases. I consider her every bit of an historian as the authors of history books.
This collection of Stephen Foster tunes, one of two that Russell has partaken in, is a rousing collection of the musical sounds of the mid-19th century. Soprano Julianne Baird and tenor Frederick Urrey join in with Ms. Russell's alto vocals to make a truly remarkable ensemble (including the musicians playing the mountain dulcimer, fortepiano, fiddle, hammered dulcimer, recorder, and accordion - all on authentic antique instruments). All combined show off the genius that Stephen Foster was - the 19th century's top songwriter who wrote music for ALL time, not just his time.
But if it wasn't for the musical reenactors (on CD at least) of Russell and company many of these long lost gems might have stayed hidden, sadly unheard. Some choral music, a feel of opera, a bit of traditional folk all mixed together to make what I feel is an authentic piece of musical history.
Here's hoping that Linda Russell and friends continue in the making of traditional music - Christmas and popular.
Ms. Russell, do you ever tour? We'd love to see you here in Michigan!

5 out of 5 stars Foster at his simple best.......2002-01-22

What a delicious surprise this little album is, and from the ..... date, it appears to have been around for a few seasons, but is utterly new to me. I am a Julianne Baird fan from the get-go, but was pleasantly taken aback at her appearance on an album of American songs with folk balladeer Linda Russell (who plays dulcimers, mountain fiddles and all manner of country instruments and sings with the earthy texture of Judy Collins). But as usual Baird finds a way to integrate her own exquisite sensibilities and artistry into the assignment and makes a touching case for the simple and heart-rending Foster tunes--this is, after all, "early music" in which she excels--American "Early Music." Tenor Fred Urrey is another find and he likewise blends wonderfully into the surroundings. In fact, the three diverse artists hit their stride in a haunting trio rendition of Old Black Joe. Keyboard and string instruments have a ghostly and authentic ring to them as well. indeed, after the pompous and overblown Foster CDs of better-known opera singers in the bins today, this is so welcome. A treasure!
Get it today.

4 out of 5 stars Well-rounded and convincing.......2000-10-27

This is an excellent rendition of Stephen Foster's songs, capitalizing on the duality inherent in the repertoire: the beautiful parlor ballads and the rowdy folk-inspired tunes. Especially remarkable is the fact that the performers bring to the music the "early music" sensibility (Julianne Baird is renowned as a performer of Elizabethan lutesongs)--this sensibility urges the performers to be as historically accurate as possible, performing on original/reproduction instruments. Also of note is the fact that it is a collaboration between classical and folk musicians: soprano, alto, tenor, fortepiano, fiddle, mountain and hammered dulcimers, harmonica, recorder, and accordian. Linda Russell (alto, mountain dulcimer) is lyrical and moving with her "folkie" voice, perfectly complementing the other "cultivated" voices and grounding them on the occasions they come together in poignant harmony.

I only wish that they had incorporated a 19th c. parlor guitar to round out the ballads. Overall, however, one can well imagine that this is indeed the way the music sounded. As one of America's first "popular song" writers, the present performers succeed in doing him justice by incorporating many styles of 19th c. popular musics, avoiding the anachronistic "bluegrass" sound often used in performances of this repertoire, and never succumbing to waves of overly self-indulgent nostalgia.
Moondog 1 & 2
Average customer rating: 5 out of 5 stars
  • Music From Other Lifetimes
  • This needs a more articulate review...
  • happy music
 Moondog 1 & 2
Moondog
Manufacturer: Beat Goes On
ProductGroup: Music
Binding: Audio CD

General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Chamber Music | Classical | Styles | Music
Avant Garde & Free JazzAvant Garde & Free Jazz | Jazz | Styles | Music
GeneralGeneral | Jazz | Styles | Music
GeneralGeneral | Rock | Styles | Music
Pop RockPop Rock | Pop | Styles | Music
Minimal TechnoMinimal Techno | Techno | Dance & DJ | Styles | Music
RockRock | Imports | Stores | Music
Similar Items:
  1. Moondog
  2. More Moondog/The Story of Moondog
  3. The German Years 1977-1999
  4. Viking of Sixth Avenue
  5. Rare Material

ASIN: B00004YU0K
Release Date: 2000-11-06

Tracks:

  1. Theme
  2. Stamping Ground
  3. Symphonique No. 3 (Ode to Venus)
  4. Symphonique No. 6 (Good for Goodie)
  5. Minisym No. 1
  6. Lament, No. 1
  7. Witch of Endor
  8. Symphonique No. 1 (Portrait of a Monarch)
  9. Bells Are Ringing
  10. Voices of Spring
  11. What's the Most Exciting Thing
  12. All Is Loneliness
  13. My Tiny Butterfly
  14. Why Spend a Dark Night With Me
  15. Coffee Beans
  16. Down Is Up
  17. Be a Hobo
  18. Remember
  19. I Love You
  20. Nero's Expedition
  21. No, The Wheel Was Never Invented
  22. With My Wealth
  23. This Student of Life
  24. Some Trust All
  25. Wine, Women and Song
  26. Sadness
  27. Maybe
  28. Each Today Is Yesterday's Tomorrow
  29. Imagine
  30. You the Vandal
  31. Trees Against the Sky
  32. Behold
  33. Sparrow
  34. Pastoral

Customer Reviews:

5 out of 5 stars Music From Other Lifetimes.......2007-07-28

I have been listening to Louis Hardin since 1974 when I was simultaneously introduced to MOONDOG and ALL GOOD MEN by Beaver & Krause - I think I must have used up all of my musical luck because nothing (including The Beatles, who are right up there next to God) has since resonated in me the way these two albums have. Hardin's unabashed musical honesty can be found but in two places, children and geniuses, and I think there must be a lot of both in Hardin. Each composition takes you on a different journey, if the listener has the courage to jump aboard; I always close my eyes, to be closer to the way the music was composed. I am particularly fond of his first album MOONDOG for a lot of reasons, but mostly I think because it was my introduction to a composer who has yet to meet his match, even within himself. As times change (and they inevitably will), other of his works will come to the fore and take their rightful place among the few that will always rise above all the rest.

5 out of 5 stars This needs a more articulate review..........2005-12-10

To tell the truth, the only reason I even listened to this disc in the store is because I spotted the cover, and wondered what the hell a guy who looked like that could sound like. I had a gushing smile on my face as I realized there was real talent and expression behind Moondog's odd facade. The first album on this disc (there are two herein) is made up of more "orchestral" material like none you've ever heard before (one of these tracks "stamping Grounds" is in "The Big Lebowski". The second album is made up of a series of short "rounds"; cyclical songs with naturally repetitive compositions (think row row row your boat, or three blind mice). Due to the familiar nature of such song forms, and the unique compositions employed by Moondog, the second album is quite buoyant and joyful. This is an all around great and very familiar listening experience, and quite a timeless set of albums. Get it while you still can!

5 out of 5 stars happy music.......2002-12-28

Moodog is a realy composer of all time. Is create a new conception of street music and universal sound
Paris, 27/12/02 France
Dunstable: Sweet Harmony - Masses and Motets
Average customer rating: 4.5 out of 5 stars
  • Dunstable masses and motets: recording by Tonus Peregrinus
  • The harmonic building blocks of Renaissance music
  • THE GREAT LEAP FORWARD
 Dunstable: Sweet Harmony - Masses and Motets

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Early Music | Historical Periods | Classical | Styles | Music
Vocal & SongVocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
MassesMasses | Vocal Non-Opera | Opera & Vocal | Styles | Music
$6.99 and Under$6.99 and Under | Classical Music Blowout | Stores | Music
All Classical Music BlowoutAll Classical Music Blowout | Classical Music Blowout | Stores | Music
Opera & VocalOpera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:
  1. Leonin, Perotin: Sacred Music from Notre-Dame Cathedral
  2. John Dunstable: Motets / Hilliard Ensemble
  3. Dufay: Missa L'homme armé; Supremum est mortalibus bonum
  4. Nicolas Gombert: Missa Media Vita in Morte Sumus
  5. Das Gänsebuch (The Geese Book): German Medieval Chant

ASIN: B000B6N67M
Release Date: 2005-10-18

Tracks:

  1. Quam Pulchra Es
  2. Kyrie
  3. Gloria A 4
  4. Credo A 4
  5. Gloria: Jesu Christe Fili Dei
  6. Credo: Jesu Christe Fili Dei
  7. Sanctus
  8. Credo: Da Gaudiorum Premia
  9. Sanctus: Da Gaudiorum Premia
  10. Agnus Dei
  11. Veni Sancte Spiritus-Veni Creator
  12. Gloria In Canon

Customer Reviews:

5 out of 5 stars Dunstable masses and motets: recording by Tonus Peregrinus.......2007-07-21

This CD includes the wonderful short motet "Quam Pulchra Es" and the better-known "Vene Sancte Spiritus/Veni Creator", together with movements from four of Dunstable's settings of the Mass ordinary. It is difficult to imagine a better recording. Tonus Peregrinus have a full intellectual and emotional understanding of Dunstable's ground-breaking musical achievement; the individual lines are clear and precise; the selection of works provides a fine illustration of the composer's range of techniques; the acoustics of Chancelade Abbey, where the recording was made, are perfect for the task; and the recording quality (Naxos) is flawless. I strongly recommend it to anyone interested in early Renaissance church music in general or of Dunstable in particular.

4 out of 5 stars The harmonic building blocks of Renaissance music.......2006-06-07

Take a journey back to early 15th century Europe with Tonus Peregrinus' recording of the works of English composer John Dunstable (c. 1390-1453). Dunstable worked in English-occupied France during the early 1400s, and his sweet English harmonies influenced French composers such as Dufay and Binchois. The incorporation of English harmonic technique into the Continental style was a major factor in the development of Renaissance counterpoint.

Dunstable was a master of isorhythm, a technique that involved repetition of lengthy melodic and harmonic figures (sometimes in sync and sometimes in overlapping fashion). While isorhythm contributes to the compositional integrity of Dunstable's music, it's not readily discernible by modern ears. What's most apparent in the music of John Dunstable is the forceful delivery of a new style: the sweet harmony resulting from the use of parallel 3rd and 6th intervals. Dunstable's harmonic writing is not particularly disciplined: unprepared dissonances occur, sometimes in jarring fashion. But overall, a spirit of jubilation pervades Dunstable's work, which should impress modern listeners just as it did the European composers who heard it nearly six centuries ago.

Tonus Peregrinus, a vocal consort named for an ancient chant that Christ might have sung at the Last Supper, delivers an evocative performance of Dunstable's works. The group performs Dunstable's motets "Quam pulchra es" and "Veni Sancte Spiritus - Veni Creator", sandwiched around a collection of Mass movements. "Quam pulchra es" exhibits a stately, graceful quality later found in the works of Binchois, while the first "Sanctus" achieves an otherworldly beauty that may have influenced the motets of Dufay. The acoustics of this recording, captured in an echo-filled French abbey, create a sense of time and place that enhances the authenticity of the performance.

In 1476, music theorist Johannes Tinctoris remarked, "There is no composition written over forty years ago which is thought by the learned as worth of performance." Tinctoris' dismissal presumably included the works of Dunstable. Fortunately, Dunstable's music has survived Tinctoris' sentiment, and now awaits your discovery, courtesy of this fine recording.

5 out of 5 stars THE GREAT LEAP FORWARD.......2005-11-29

Goodness me, how many superlative groups of ancient music specialists can there be? Here is yet another, predictably brought to us by Naxos. There are 8 singers directed by Anthony Pitts, and the group photograph also shows us Jeremy Summerly himself in a daft-looking hat as producer, and also, most properly, the engineer Geoff Miles whose work I would call absolutely outstanding.

England was not always `the land without music'. In particular, it seems that a sudden and spectacular leap in musical development occurred precisely there in the early 15th century, and, if we are to believe the musical historian of the time Tinctoris (cited by Pitts in his liner-note), the main driving-force behind this revolution was John Dunstable, whose innovations were picked up promptly by his contemporary Dufay and thereafter by Europe in general. My own knowledge of this period is deplorably patchy, but it is quite clear that by the 12th century the ecclesiastical tradition of monodic plainsong, believed to date from the 8th century, had not changed much, even at the hands of the frumious Hildegard of Bingen. There was a parallel secular tradition, probably more than one, but if the music of the troubadours during this same period is anything to go by it had primitive instrumental accompaniment for the voices, but nothing by way of genuine `harmony' much less polyphony or counterpoint.

Enter the English, Dunstable in the lead. Not a lot seems to be known about him except that he appears to have been associated with St Albans in Hertfordshire, where his name survives in the name of a town not far away, as does that of the author of Dunstable's epitaph and Abbot of St Albans Abbey John Wheathampstead. All this information is conveyed with admirable brevity in Pitts's notes, and I take it on faith entirely. Faith of another kind shows through his phraseology here and there, as in his dedication of the recording to `a God-fearing man' (not the kind of terminology one encounters much in England these days) and in his sniffy comment in his resume that he left the BBC in protest over its screening of `a blasphemous musical'. I would only remark that the BBC never actually broadcast anything by such a description, nor did the public in general realise that they were listening to such. At the musical level by and large the liner-note is awesomely learned but slightly heavy going. It is worth absorbing slowly, but the most significant thing it says is really its naïve proclamation of how marvellous the music is. This is the dawn of the elaborate harmonisation that makes European music, so far as I know, unique, and the thrill and sense of awe that go with that are enormous for one kind of listener at least.

If I understand Pitts aright, the various sections of the mass here - including 2 glorias, 3 credos and 2 settings of the sanctus - don't incorporate one specific `mass' although they approximately follow the order of the parts normally set to music: indeed if there were a single coherent mass in it what would be the point of such duplications? The way they have sequenced it all is appropriate to isolated settings, sensibly programmed so as to avoid having the same text in successive tracks. The recital starts with one motet and ends with another, followed by a gloria that `we' have completed from the restored but deficient MS. `We' have done just brilliantly if I may say so - this is what music-making is all about, but it needs the right level of talent. The performing artists consist of 2 sopranos, 1 female and 1 male alto, 3 tenors and a single bass. I have to take the historical authenticity of this, just as I have to take the tempi adopted, on faith once again. I believe the phrase is `It works for me'. What is beyond much question is the sheer quality of the singing, and what I want to sing my own praises of is the recording, which has a perfect sense of spaciousness together with perfect clarity.

I hope I will be believed when I say that I have no link of any kind with Naxos. I collect their discs because of what these are and because of what my tastes and standards in good music are. This particular disc is from this very year 2005, and the recording was done in Chancelade Abbey in the Dordogne. Over and above the learned inputs of Mr Pitts we are given brief resumes of all the performers, and all texts are provided with English translations. These latter are a great deal better than many I have seen in the last year or two. My suspicions having relaxed, I have been less hawk-eyed than sometimes, and I don't believe that there are any serious misrenderings. In the Veni Creator if the text is right at lines 11-12 the meaning must be `Thou duly enriching our mouths with the promised utterance of the Father'; 4 lines later `perpetim' is a simple misprint for `perpeti', but as usual the translator thinks `perpeti' is some kind of adjective. It is a prolative infinitive, and lines 15-16 therefore mean `Strengthening what in our bodies is weak so as to be steadfast through virtue'.

Go forth in droves at the Christmas season and acquire this disc.
Songs by Stephen Foster, Vol. 1-2
Average customer rating: 4.5 out of 5 stars
  • Time Capsule
  • Unexpected
  • An album to treasure
  • A classic recording of American songs
  • The sessions of sweet silent thought stirred
 Songs by Stephen Foster, Vol. 1-2

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

PolkasPolkas | Ballets & Dances | Classical | Styles | Music
QuartetsQuartets | Chamber Music | Classical | Styles | Music
GeneralGeneral | Chamber Music | Classical | Styles | Music
Foster, StephenFoster, Stephen | ( F ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Chamber MusicChamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
Vocal & SongVocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Folk | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Similar Items:
  1. Stephen Foster Songs: Parlor & Minstrel Songs, Dance Tunes & Instrumentals
  2. Stephen Foster Song Book
  3. American Dreamer: Songs of Stephen Foster; Thomas Hampson; Jay Unger; Molly Mason
  4. Swanee: The Music of Stephen Foster
  5. DOO-DAH: Stephen Foster and the Rise of American Popular Culture

ASIN: B000005IYE
Release Date: 1992-05-28

Tracks:

  1. Songs By Stephen Foster: Jeanie With The Light Brown Hair
  2. Songs By Stephen Foster: There's A Good Time Coming
  3. Songs By Stephen Foster: Was My Brother In The Battle?
  4. Songs By Stephen Foster: Sweetly She Sleeps, My Alice Fair
  5. Songs By Stephen Foster: If You've Only Got A Moustache
  6. Songs By Stephen Foster: Gentle Annie
  7. Songs By Stephen Foster: Wilt Thou Be Gone, Love?
  8. Songs By Stephen Foster: That's What's The Matter
  9. Songs By Stephen Foster: Ah! May The Red Rose Live Alway
  10. Songs By Stephen Foster: I'm Nothing But A Plain Old Soldier
  11. Songs By Stephen Foster: Beautiful Dreamer
  12. Songs By Stephen Foster: Mr. & Mrs. Brown
  13. Songs By Stephen Foster: Slumber My Darling
  14. Songs By Stephen Foster: Some Folks
  15. Songs By Stephen Foster: We Are Coming, Father Abraam, 300,000 More
  16. Songs By Stephen Foster: Linger In Blissful Repose
  17. Songs By Stephen Foster: There Are Plenty Of Fish In The Sea
  18. Songs By Stephen Foster: Come Where My Love Lies Dreaming
  19. Songs By Stephen Foster: The Soiree Polka
  20. Songs By Stephen Foster: Better Times Are Coming
  21. Songs By Stephen Foster: Katy Bell
  22. Songs By Stephen Foster: The Hour For Thee And Me
  23. Songs By Stephen Foster: Summer Longings

Customer Reviews:

5 out of 5 stars Time Capsule.......2006-11-30

The voices and instruments, like the songs, are straight from the mid-19th century. If you want to be transported back in time 150 years to a wonderful parlor performance of Foster's songs, this is the album to do it. The voices are marvelous and trained, and one must imagine that the strict phrasing and style are what one would have expected at the time. The cheap upright piano is perfect.

But the one perfect moment for me is the ONLY good extant rendition of "Was My Brother in the Battle?". Accompanied on a harmonium or pump reed organ, if this song doesn't tempt a tear, you simply aren't a romantic.

Very highly recommended.

3 out of 5 stars Unexpected.......2005-11-26

Quality of this recording is fantastic! Performances are superb! However, they don't fit being an example of Foster's music and times. I was expecting banjos and a Mississippi Sound - therfore, very, very disappointed in this CD and consider and a waste of money. Be sure to LISTEN to a few examples to match what you are looking for and what the CD offers. I, unfortunately did not listen before I bought. I rate this low only because my expectations were shattered. This IS a fine CD if opera styles are ok for an example of this southern, 1800's composer's work.

5 out of 5 stars An album to treasure.......2004-09-23

The landmark Library of Congress album, now on enhanced CD. Years
ago, I went on a six-months field assignment to a remote area of
Africa, where I could take only what music I could carry in a vest
pocket. I chose a tape player and two albums: a recital by Perlman
and this album on tape, and was content. If you love American
music, sung poetry, beautiful singing and deeply moving musicality,
this is an album you will treasure for a lifetime.

5 out of 5 stars A classic recording of American songs.......2004-08-22

What can I say that hasn't already been said below? I only wanted to reiterate how wonderful this album is and assure the reader the sound is spectacular on CD. This is a live recording, and intentionally so, as the idea was to create a "parlor" experience as these were parlor songs to be sung by family and friends around the old upright piano. I especially liked the comment about the upright piano which, indeed, does croak and clank throughout the performance adding a note of "authenticity" without becoming obtrusive.

If only Ms. DeGaetani had graced my parlor...

5 out of 5 stars The sessions of sweet silent thought stirred.......2003-11-22

I have never heard such unadulterated extraworldy sound emanate from two human voices and what would otherwise be firewood (the period instruments played by Gilbert Kalish). It stirs profound patriotism and a deep sentimentality for our early days when a civilized people pined to find virtue by examining its own body-- the north and the south, the small town, the simple flag, and the beauty of gentile manly and womanly love expressed through equisite song. There is no other music I would rather hear 'when summoning up the remembrance of things past.' The ghost of the early American parlor will prick your skin through these simple hymns and you may escape for a moment our troubled and busy times.
Purcell: Theatre Music
Average customer rating: 5 out of 5 stars
  • Fine reissue of a classic set
 Purcell: Theatre Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Purcell, HenryPurcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
Incidental MusicIncidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Purcell, Henry | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
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GeneralGeneral | Chamber Music | Classical | Styles | Music
Purcell, HenryPurcell, Henry | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music
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OdesOdes | Vocal Non-Opera | Opera & Vocal | Styles | Music
The Decca Records StoreThe Decca Records Store | Specialty Stores | Music
Similar Items:
  1. Cantatas for Solo Countertenor
  2. Purcell: The Fairy Queen
  3. Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll
  4. Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs
  5. Lute Music, Vol. 2

ASIN: B0001Y4JHA
Release Date: 2004-10-12

Customer Reviews:

5 out of 5 stars Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.
Angels Hide Their Faces: Dawn Upshaw Sings Bach and Purcell
Average customer rating: 5 out of 5 stars
  • Beautiful, fervent Bach, but the Purcell songs are a bit prettified
  • Now that the Sun hath veil'd his light.....
  • Picky reviewers
  • hark ! how well the lady sings
 Angels Hide Their Faces: Dawn Upshaw Sings Bach and Purcell

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

All Works by J.S. BachAll Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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  1. Voices of Light
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  5. Knoxville Summer of 1915

ASIN: B000059LXH
Release Date: 2001-03-27

Tracks:

  1. Music For A While - Dawn Upshaw/Myron Lutzke/Arthur Haas
  2. I Attempt From Love's Sickness To Fly - Dawn Upshaw/Myron Lutzke/Arthur Haas
  3. Ah! How Sweet It Is To Love - Dawn Upshaw/Myron Lutzke/Arthur Haas
  4. Lord, What Is Man - Dawn Upshaw/Myron Lutzke/Arthur Haas
  5. Hark! How All Things - Dawn Upshaw/Myron Lutzke/Arthur Haas
  6. Cantata BWV 199: Mein Herze Schwimmt Im Blut: Recitativo - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
  7. Cantata BWV 199: Mein Herze Schwimmt Im Blut: Aria - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
  8. Cantata BWV 199: Mein Herze Schwimmt Im Blut: Recitativo - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
  9. Cantata BWV 199: Mein Herze Schwimmt Im Blut: Aria - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
  10. Cantata BWV 199: Mein Herze Schwimmt Im Blut: Recitativo - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
  11. Cantata BWV 199: Mein Herze Schwimmt Im Blut: Chorale - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
  12. Cantata BWV 199: Mein Herze Schwimmt Im Blut: Recitativo - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
  13. Cantata BWV 199: Mein Herze Schwimmt Im Blut: Aria - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
  14. If Music Be The Food Of Love - Dawn Upshaw/Myron Lutzke/Arthur Haas
  15. The Blessed Virgin's Expostulation - Dawn Upshaw/Myron Lutzke/Arthur Haas
  16. An Evening Hymn - Dawn Upshaw/Myron Lutzke/Arthur Haas

Amazon.com

Soprano Dawn Upshaw's programs are always interesting, and this one's a beauty: one of Bach's most heartfelt cantatas flanked by songs and arias of Purcell. For the most part, she's in excellent voice, but with the tics that make some demur from enthusiasm: occasional swooping, thinning of the voice in the upper regions, lapses into a "Broadway" type of vocalism, and diction problems. The latter, oddly enough, are as present in Purcell's English as in Bach's German, as in the way Upshaw lands heavily on the r with a broad American accent rather than the lightly rolled r we're used to in performances of period English music. There's also some broad word-painting in the Bach, whose text, charting the soul's journey from sin to redemption, really needs no extra emoting. That said, Upshaw's fans will love this disc, and even those who prefer a different approach will enjoy it. Accompaniments are excellent: a continuo team in the Purcell, a small chamber group in the Bach. Outstanding sonics, too. --Dan Davis

Customer Reviews:

4 out of 5 stars Beautiful, fervent Bach, but the Purcell songs are a bit prettified.......2006-08-24

Amazon's reviewer seems to have zoned out on how Dawn Upshaw pronounces words, missing most of the musical value here. Her singing of the Bach cantata, 'Mein Herze schwimmt in Blut,' is very moving. She is deeply involved, and her voice extracts the deep reverence and religious passion that makes this music so great. I'm not as convinced by the Purcell songs, however. Upshaw has chosen some of the most famous, and set against great singers like Battle, Baker, and Ferrier, her rendiitons seem a little shallow and prettified. She's considerably more tuned in to Bach, which is good enough to make this a memorable CD, if not her very best. Things would be much improved if the conducting by the (totally uncredited) conductor weren't so limp.

5 out of 5 stars Now that the Sun hath veil'd his light............2001-08-04

Some say angels are God's messangers. When angels communicate, surely they sound like Dawn Upshaw. Upshaw's beautiful soprano voice rises to the stars and floats back again as she sings the beautiful collection of arias and cantatas by Purcell and Bach contained in ANGELS HIDE THEIR FACES.

Shaw's interpretation of Purcell's 'How sweet it is to love' reminds me of the elation I first felt on realizing love exists. 'Lord what is a man' brings one back to earth with a lamentation about human frailty and the finiteness of human existence. "Rejoice, rejoice" sings the angel in 'Hark! How all things' with lyrics from 'The Fairy Queen' -- a text by E. Settle after Shakespeare's 'A Midsummer Night's Dream.'

Bach's cantatas fill the air as Upshaw sings arias in German (interpretations are provided in the text accompanying the CD). J.S. Bach's songs are clearly and beautifully articulated by Upshaw while in the backgound various wind and string instruments accompany her vocalizations. Many of Upshaw's vocalizations by Bach in German as well as the instrumentation (including viol consort) remind me of the arias from 'The Messiah' -- majestic albeit on a very human scale. For example, Aria #9 by Bach is comparable to "He shall lead his flock.." (although the latter was written for an alto voice).

The music in English by Purcell is a bit lighter. My favorite piece is 'An evening hymn' by Purcell which I would expect to hear near dusk in an English chapel. However, ANGELS HIDE THEIR FACES contains music you can play year round at any time of day.

5 out of 5 stars Picky reviewers.......2001-05-31

I've got a degree in musicology ( and am fluent in German as well), and for a while after total immersion in graduate school, found my listening enjoyment frustrated by the same pickiness that hampers your reviewer. Fortunately, that passed, and I'm now able to simply appreciate Dawn Upshaw's performance of the music we hear all too seldom. I hope that others will be able to participate in Upshaw's interpretation of the poetry behind the music, to think about the theological role of angels (not just pretty faces and feathery wings), to love this wonderful recording. We are indeed blessed that technology allows us to experience such music, such an artist.

5 out of 5 stars hark ! how well the lady sings.......2001-05-31

This is one of those little gems that becomes more appealing with each hearing. The Purcell pieces are sweet and lovely, but the Bach ! This Cantata is the glory of this CD. It's verses are of the deepest sorrow and repentance, woeful utterances for God's forgiveness, until the final aria, "How joyful is my heart since God is appeased". Dawn Upshaw's interpretation is beautiful. She captures the emotion, the longing, the spirituality and heart of the piece.

The musicians in the simple accompaniment are superb, and the entire package excellent...it was the cover art that first drew my attention to this CD...an unusual and moving painting by Hugo Simberg titled "Wounded Angel" from 1903. It also has the lovely added touch of being slip-cased, making it a perfect gift item for anyone who likes this type of music.
Music of the Gothic Era
Average customer rating: 5 out of 5 stars
  • Unique
  • A classic performance
 Music of the Gothic Era
Geoffrey Shaw , David James , David Munrow , and Early Music Consort of London
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Opera & Vocal | Styles | Music
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  5. Sinners & Saints: The Ultimate Medieval and Renaissance Music Collection

ASIN: B00006L3IE
Release Date: 2002-10-08

Tracks:

  1. Viderunt Omnes - David Munrow
  2. Alleluya Pascha Nostrum - Martyn Hill
  3. Gaude Maria Virgo - David Munrow
  4. Locus Iste - Charles Brett
  5. viderunt Omnes - Martyn Hill
  6. Sederunt Principes - David Munrow
  7. Alle, Psallite Cum Luya, 3 Voc. - Martyn Hill
  8. Amor Potest, 3 Voc. - Martyn Hill
  9. S'on Me Regarde, 3 Voc. - Martyn Hill
  10. In Mari Miserie, 3 Voc. - Martyn Hill
  11. On Parole De Batre, 3 Voc. - James Bowman
  12. En Mai Quant Rosier Sont Flouri, 3. Voc. - Martyn Hill
  13. Dominator Domine, 3 Voc. - Martyn Hill
  14. El Mois De Mai, 3 Voc. - Martyn Hill
  15. O Mitissima, 3 Voc. - James Bowman

Tracks:

  1. Hoquetus I-VII, 3 Voc. Neuma-Virgo-In Seculum Longum-In Seculum Viellatoris In Seculum Breve-Seculum D'Amiens Longum-In Seculum - David Munrow
  2. Aucun Ont Trouve, 3 Voc. - David Munrow
  3. De Ma Dame Vient, 3 Voc. - Martyn Hill
  4. J'os Bien A M'amie Parler, 3 Voc. - James Bowman
  5. La Mesnie Fauveline, 3 Voc. - David Munrow
  6. Quant Je Le Voi, 3 Voc. - Martyn Hill
  7. Zelus Familie, 3 Voc. - Martyn Hill
  8. Quasi Non Ministerium, 4 Voc. - David Munrow
  9. Impudenter Circumivi, 4 Voc. - David Munrow
  10. Cum Statua, 3 Voc. - James Bowman
  11. Pantheon Abluitur, 5 Voc. - James Bowman
  12. Clap, Clap, Par Un Matin, 3 Voc. - Martyn Hill
  13. Ida capillorum, 4 Voc. - James Bowman
  14. Rachel Plorat Filios, 3 Voc. - Martyn Hill
  15. Les I'ormel A La Turelle, 3 Voc. - Martyn Hill
  16. O Philippe, Franci Qui Generis, 3 Voc. - James Bowman
  17. Febus Mundo Oriens, 3 Voc. - Martyn Hill
  18. Lasse! Comment Oublieray, 3 Voc. - Martyn Hill
  19. Qui Es Promesses, 3 Voc. - James Bowman
  20. Hoquetus David, 3 Voc. - David Munrow
  21. Christe, Qui Lux Es, 4 Voc. - James Bowman
  22. Degentis Vita, 4 Voc. - Martyn Hill
  23. Inter Densas Deserti Meditans, 3 Voc. - Martyn Hill
  24. Rex Karole, Johannis Genite, 5 Voc. - James Bowman

Customer Reviews:

5 out of 5 stars Unique.......2006-02-07

This is early vocal music very much in the style currently heard in groups like the Hilliard Ensemble and Tallis Scholars. It is very spacious-sounding and solemn, which makes sense- most of the music that we have preserved from hundreds of years ago was written for use in the church. Fortunately, the gravity of the works never stops this set from being thoroughly enjoyable, too. Archiv's sound is, as always, very good.

5 out of 5 stars A classic performance.......2003-02-28

This recording remains a classic, even if (as Daniel Leech-Wilkinson points out in his accompanying notes) some of Munrow's performance practices may be disputed today. This is, quite simply, a wonderful performance and a terrific sounding recording (even after nearly 30 years)--and a wonderful way to develop an ear for the music of the 13th and 14th centuries.
Some Voices
Average customer rating: 5 out of 5 stars
  • some might accuse me of hyperbole...
  • Only 4 songs? Not a problem.
 Some Voices
Pinback
Manufacturer: Absolutely Kosher
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006GO9H
Release Date: 2002-09-24

Customer Reviews:

5 out of 5 stars some might accuse me of hyperbole..........2004-11-03

but I believe that this could be one of the best EPs ever recorded. Totally cohesive, totally brilliant, totally worth the money, and arguably the best introduction to Pinback's capabilities.

5 out of 5 stars Only 4 songs? Not a problem........2003-06-29

This album will keep you listening to those four wonderful songs over and over.

The title track starts out unlike any other pinback song I have heard with a prominent bass line and simple drum beat, but then morphes into an ambient and beautiful sample of vocal harmony and unique melody.

Manchuria, quite possibly my favorite song on the album, immediately hooks you with a catchy piano progression and an upbeat drumbeat. Add some wonderful vocals, harmony, great chorus and absolutely stunning bridge and outro and you have a great song...Manchuria includes all of these things.

Trainer. I love the guitar and bass in this song. They just fit each other so well. Again, more great vocals and a fantastic pre-chorus and chorus.

Finally, we come to June. When I saw Pinback live a few months ago, they ended with June. This 7 minute epic will mezmorize you with the beautiful piano structure, strings arrangement, guitar accents and of course Rob's hypmotizing voice. Try to keep the tears in when the chorus hits...I know I couldn't.

BUY THIS ALBUM.
Ned Rorem: Selected Songs
Average customer rating: 4 out of 5 stars
  • Great vocal virtuosity
  • Confuzzled
  • An American Composer of Art Song
  • more German than Rorem
  • delightful art songs
 Ned Rorem: Selected Songs
Ned Rorem , and Carole Farley
Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

Chamber MusicChamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
Vocal & SongVocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
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  5. Songs by Roger Quilter

ASIN: B00005QISU
Release Date: 2001-11-20

Tracks:

  1. The Waking
  2. Root Cellar
  3. My Papa's Waltz
  4. I Strolled Across An Open Field
  5. Memory
  6. Orchids
  7. The Serpent
  8. Night Crow
  9. Snake
  10. Lilltel Elegy
  11. The Nightingale
  12. Nantucket
  13. Lullaby Of The Woman Of The Mountain
  14. Love In A Life
  15. What If Some Little Pain...
  16. Visits To St. Elizabeth's
  17. Stopping By Woods On A Snowy Evening
  18. Spring
  19. See How They Love Me
  20. Now Sleeps The Crimson Petal
  21. I Am Rose
  22. Ask Me No More
  23. Far-Far-Away
  24. Early In The Morning
  25. Alleluia
  26. Such Beauty As Hurts To Behold
  27. Sally's Smile
  28. Youth, Day, Old Age, And Night
  29. O You Whom I Often And Silently Come
  30. Full Of Life Now
  31. As Adam Early In The Morning
  32. Are You The New Person?

Customer Reviews:

5 out of 5 stars Great vocal virtuosity.......2005-04-07

This is a great recording, by two great artists. Carole Farley is the ideal singer for Ned Rorem's songs. She spell out every
word and every nuance, giving each song and every poem their full character. The songs are a revelation. I recommend this recording without hesitation.
Christoph (Berlin, Germany)

3 out of 5 stars Confuzzled.......2004-01-03

While these song are GREAT...I cannot get over Carole Farley; her voice is so affected (kind of like a sprechstimme; overly dramatic...). I love the fact that Rorem himself is playing the piano, and as a singer, the catalogue of songs is good to have...but cant say I could ever manage getting over Farley's affectation. There are far superior recordings out there.

5 out of 5 stars An American Composer of Art Song.......2003-04-02

American popular song, whether standards, show tunes,jazz, blues, or rock, is one of our country's most visible artistic achievements. American classical (or Art) songs are much less known. Ned Rorem (b. 1923) is probably the greatest American composer in this unfamiliar medium. Rorem is sometimes dubbed the "American Schubert."

This disc features 32 of Ned Rorem's songs for voice and piano. Soprano Carole Farley is the accomplished singer, and Ned Rorem himself plays the piano. The disc is special because it features settings of the works of American poets. The CD begins with 9 settings of poems by the mid-twentieth century poet, Theodore Roethke, and concludes with settings of 5 poems by Walt Whitman. The disc also includes settings of poems by William Carlos Williams, Gertrude Stein, and Paul Goodman, among others. Thus the disc combines in a special way American creative effort in poetry and in music.

Rorem's songs are declamatory in style. Typically, the voice line delivers the text of the poetry in a sort of chant. The relationship between the voice line and the piano is far from Schubertian. Generally, the piano takes a separate line and accentuates the voice by means of large chords or by runs or by other comments and punctuation on the voice. The texts are well set and the music is effective. There are some unusual harmonies with jazz and blues influences. Rorem's piano accompanyment on this disc gives the recording a sense of authenticity -- we get a good idea of how the composer wants his songs to be conveyed.

The disc includes excellent program notes and texts of all the songs. Naxos has received deservedly high praise for its "American Classics" series which makes much music written by Americans available on CD at a low price. This disc includes some lovely, little-known songs. It is an excellent introduction to the American art song and to the music of Ned Rorem.

3 out of 5 stars more German than Rorem.......2002-07-20

I've been a Rorem fan since hearing a highschool friend perform some of his work in her college recital. His startling, atonal songs were an instant revelation. For years there were few reliable CDs of his vocal work. A scandal considering his reputation rests more on his art songs and chamber music than on his orchestral pieces. This Naxos entry of a wide overview of his best songs is thus quite welcome, due largely to its availability, wide distribution and professional packaging (he's had some shoddy issues before with incorrect liner notes, etc.; the challenge of the low budget).

I can't call myself an unalloyed fan of soprano Carole Farley however. Her delivery here recalls the speak-singing style of German 12-tone composers (a specialty of hers), and can sound melodramatic, especially when she rushes the more delicate passages.

I prefer Rorem's softer, more melodious French side, the one that descends from Impressionism and is more warmly emotive. While Farley loses the shading of some of the more fragile songs, she is well-suited to the longer, more forceful pieces. I've heard many readings of "Early in the Morning" (one of Rorems most popular songs) by male and female vocalists, and its tale of wistful nostalgia is muted by Farley's direct approach. However, she nails "My Papa's Waltz," a fractured setting for a Roethke poem about a frightened child forced to dance with a drunken father. Here her acting skills come to the fore, and she perfectly captures the tipsy madness of the song. Rorem can be quite theatrical himself on occasion. She does almost as well with "See How they love me," a ballad with a regular pace that allows her assertive style to breathe.

At any rate it's great to hear these lovely songs in a recent (2000) recording, accompanied (rather emphatically, but perhaps he's matching his theatrical singer) by Rorem himself.

The similar Susan Graham album is more to my taste, but this is a more than competent bargain set.

4 out of 5 stars delightful art songs.......2002-01-02

rorem's songs are amazing, and naxos has done well
to group them by poet. the complete settings of roethke
are particularly compelling and edgey.

carole farley's voice is lovely, but her phrasing
and willingness to push her voice seems
a big departure from the styling of art songs i've
heard by poulenc and somers.

this takes some getting used to- at least 3 or 4 complete
listen-throughs in my case. her voice is almost jazzy,
kind of like early recordings by holly cole.

anyway, rorem accompanies her on piano so obviously
this reading fits with his intent; his playing is also delightful.

one small quibble- although there are 32 songs, the CD is
57 minutes- brief by naxos standards.

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Nuntype [Explicit Lyrics]

Pleasure Vibrations

Maxximum [Limited Edition] [Import]

Not Gonna Get Us [CD-single] [Enhanced] [Import]

Natural Woman: the Very Best of [Original recording remastered] [Import]

Mystic Journey

Music With Sound Right Reasoning

Once Upon a Time in America, Pt. 2 [CD-single] [Import]

Juntos

Pleading the Blues

Woody's Roundup: A Rootin' Tootin' Collection of Woody's Favorite Songs