Music Fantasy, Vol. 1

Editorial Reviews
Product Description
MUSIC FANTASY - VOLUME ONE is the perfect music collection for those intimate quiet nights, or for those fiery celebratory jams! This versatile compilation is a mix of vocals and instrumentals in an array of styles that span the musical spectrum from Latin to Jazz to World to New Age. The 12 tracks feature the masterful toques and fretboard wizardry of Armik, the sensual duende of Romero, Mosaico's musical tapestries inlaid with Latin rhythms and Gypsy poetics, the inspired vocals of Sandy Foster and the fiery descarga of Hector Cuevas & The Boston Latin Band.

Music Fantasy, Vol. 1,Various Artists,Bolero Records,New Age / Meditation,New Age Collections,Pop,V/a Compilations

Tracks:

Susie Q
I Put A Spell On You
Proud Mary
Bad Moon Rising
Lodi
Green River
Commotion
Down On The Corner
Fortunate Son
Travelin' Band
Who'll Stop The Rain
Up Around The Bend
Run Through The Jungle
Lookin' Out My Back Door
Long As I Can See The Light
I Heard It Through The Grapevine
Have You Ever Seen The Rain?
Hey Tonight
Sweet Hitch-Hiker
Someday Never Comes

Amazon.com

Few bands of the 1960s retained as much a sense of the roots of rock and roll as did Creedence Clearwater Revival. Their music is rife with country, rockabilly, and R&B influences, a combination that produced several hit singles--most of which are present on this collection. These include "I Heard It through the Grapevine," "Lodi," "Up Around the B ," "Who'll Stop the Rain," and of course "Bad Moon Rising." This is an excellent greatest-hits collection, and a perfect introduction to the music of a band that has been enduringly influential. --Genevieve Williams

Album Description

Recorded 1968-1970 and includes 'Susie Q', 'I Put a Spell on You', 'Proud Mary', 'Bad Moon Rising', 'Lodi', 'Green River', 'Commotion', 'Down on the Corner', 'Fortunate Son', 'Travelin' Band', 'Who'll Stop the Rain', 'Up Around the Bend', 'Run Through the Jungle', 'Lookin' Out My Back Door', 'Long as I Can See the Light', 'I Heard It Through the Grapevine', 'Have You Ever Seen the Rain?', 'Hey Tonight', 'Sweet Hitch-Hiker' & 'Someday Never Comes'. Fantasy label. 1991.

Customer Reviews:

My sort of music .......2007-07-12

As Im in my sixties you might think Im to old, but this is my sort of music.I reckon " john fogerty " is a great singer. Just listen to find out. Hope you like it the same as I do.

CCR.......2007-06-28

An excellent greatist hits CD, I used a handful of songs to burn a CD with other related style of music.

great stuff.......2007-06-27

listening to this CD makes you realize how great john fogerty was back in the day. great songs, great sound.

Gets me going in the morning.......2007-06-27

I've been listening to this CD for 2 weeks in my car on the way to work.

Soundtrack of an era.......2007-06-15

This is an excellent compilation of CCR's tunes from the late 60s, early 70s. There's a reason why Credence tunes kept popping up in movies and commercials. It's great music and evocative of the era from which it comes. No need for me to review the individual tunes; anybody with a radio has head most of them. A must-have for any music fan.

Average customer rating:

5 Stars Discounting Recording Problems
Perfect for homeschooling.
In Words & Music
Don't blink

The Story Of Handel

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

General | Children's Music | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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The Story of Bach
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ASIN: B000001KCX
Release Date: 1995-04-16

Tracks:

Water Music
Israel In Egupt: 'He Gave Them Hailstones'
Organ Concerto No. 16 In F Major: Larghetto affetuoso
Messiah: I Know That My Redeemer Liveth
The Faithful Shepherd: Overture
Terpsichore: Overture
Julius Caesar: Aria Of Ptolemy
Sonata No. 1 In B Flat Major For Recorder And Harpsichord: Finale
Concerto Grosso In G Minor, Op. 6 No. 6: Fugue
Messiah: Every Valley Shall Be Exalted
Rodelinda: Overure
Ezio: Overture
Organ Concerto No. 13 In Major: Larghetto
Water Music: Hornpipe
Fantasia In C Major
Harmonious Blacksmith
Water Music: Andante
Julius Caesar: Finale
Organ Concerto No. 5 In F Major: Allegro
Alexander's Feast: Oveture
Serse: Largo
Isreal In Egypt: He Spake The Word
Larghetto e staccato
Messiah: Hallelujah Chorus
Israel In Egypt: The Horse And His Rider
Messiah: Why Do The Nations
Judas Maccabeus: Hallelujah Amen
Israel In Egypt: And The Children If Israel Sighed
Messiah: Hallelujah
Water Music: Ouverture
Water Music: III. Allegro
Water Music: IV. Allegro
Water Music: VII. Bourree Hornpipe
Water Music: X.
Water Music: XI
Water Music: XVI
Water Music: XVII
Water Music: XVIII
Water Music: XIX

Customer Reviews:

5 Stars Discounting Recording Problems.......2007-05-14

The content is terrific. This CD is one of a series of classical music masters. The only problem is that tracks 38 and later have a lot of distortion/static. I returned thinking it was a problem with the disc, but the replacement disc had the same problem. If not for that, I would have rated 5 stars.

Perfect for homeschooling........2007-01-29

The narratives are short enough to keep your children's attention, the music may be short in some instances but if you're playing it in the background for exposure- it doesn't matter. The price is great and the cheapest you'll find in addition to the 4 for 3 deal. We have all 18 of these cds and don't regret it!

In Words & Music.......2000-07-24

I have found this recording series to be a very helpful introductory teaching device for my young children. It gives a brief history of the composer and samples of the musical style.

Don't blink.......2000-05-03

The music on this CD is all wonderful, and it's a perfect CD toget - if you have the attention span of a soap bubble! Thisis a "sampler" with narrative and very few of thepieces listed are actually played in their entirety. Even pieces which are short to begin with are excerpted. We are given a whole minute of the Hallelujah Chorus and a rousing 45 seconds from the overture from "Ezio". This is a teaching CD which gives some fine examples to support the narration - but they are very short examples. A few bars here and there is all you get.

Classical Masterpieces of the Millennium [20 CD Set]

Average customer rating:

Mill. Classical review
classical music for the unitiated
Some little gems there that I had forgotten!
A very helpful collection
Excellent!

Classical Masterpieces of the Millennium [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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ASIN: B00000K1C9
Release Date: 1999-08-24

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating:

A wonderful offering.
I disagree with the consensus here
Don't hesitate to get this set
Superb interpretations by Katchen
A little rushed sometimes, but beautiful

Brahms: Works for Solo Piano

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Schubert: The Piano Sonatas
Liszt: Piano Works
Chopin: The Piano Works
Works for Solo Piano
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116

ASIN: B0000042GM
Release Date: 1997-11-11

Tracks:

Variations On A Theme By Paganini, Op.35: Book 1 - Heft 1
Variations On A Theme By Paganini, Op.35: Book 2 - Heft 2
Variations And Fugue On A Theme By G.F. Handel, Op.24: B Flat Major
4 Ballades, Op.10: Andante
4 Ballades, Op.10: Andante
4 Ballades, Op.10: Intermezzo. Allegro
4 Ballades, Op.10: Andante con moto

Tracks:

Works For Solo Piano: Ziemlich langsam
Works For Solo Piano: Poco larghetto
Works For Solo Piano: Allegro
Works For Solo Piano: Walzer Nr. 1 - 8
Works For Solo Piano: Walzer Nr. 9 - 16
Works For Solo Piano: Scherzo es-moll

Tracks:

Works For Piano Solo: Allegro
Works For Piano Solo: Andante
Works For Piano Solo: Scherzo. Allegro molto e con fuoco
Works For Piano Solo: Finale. Allegro con fuoco
Works For Piano Solo: Allegro non troppo ma energico
Works For Piano Solo: Andante con espressione
Works For Piano Solo: Scherzo. Allegro
Works For Piano Solo: Finale. Introduzione (sostenuto) - Allegro non troppo e rubato
Works For Piano Solo: Agitato
Works For Piano Solo: Molto passionato, ma non troppo allegro

Tracks:

Works For Piano Solo: Allegro maestoso
Works For Piano Solo: Andante espressivo - Andante molto
Works For Piano Solo: Scherzo. Allegro energico
Works For Piano Solo: Intermezzo. Andante molto
Works For Piano Solo: Finale. Allegro moderato ma rubato
Works For Piano Solo: Presto energico
Works For Piano Solo: Andante
Works For Piano Solo: Allegro passionato
Works For Piano Solo: Adagio
Works For Piano Solo: Andante con grazia ed intimissimo sentimento
Works For Piano Solo: Andante teneramente
Works For Piano Solo: Allegro agitato

Tracks:

Works For Solo Piano: 8 Pieces, Op.76 - I Capriccio in F sharp minor
Works For Solo Piano: 8 Pieces, Op. 76 - II Capriccio in B minor
Works For Solo Piano: 8 Pieces, Op. 76 - III Intermezzo in A flat major
Works For Solo Piano: 8 Pieces, Op. 76 - IV Intermezzo in B flat major
Works For Solo Piano: 8 Pieces, Op. 76 - V Capriccio in C sharp minor
Works For Solo Piano: 8 Pieces, Op. 76 - VI Intermezzo in A major
Works For Solo Piano: 8 Pieces, Op. 76 - VII Intermezzo in A minor
Works For Solo Piano: 8 Pieces, Op. 76 - VIII Capriccio in C major
Works For Solo Piano: 6 Pieces, Op. 118 - I Intermezzo in A minor
Works For Solo Piano: 6 Pieces, Op. 118 - II Intermezzo in A major
Works For Solo Piano: 6 Pieces, Op. 118 - III Ballade in G minor
Works For Solo Piano: 6 Pieces, Op. 118 - IV Intermezzo in F minor
Works For Solo Piano: 6 Pieces, Op. 118 - V Romanze in F major
Works For Solo Piano: 6 Pieces, Op. 118 - VI Intermezzo in E flat minor
Works For Solo Piano: 4 Pieces, Op. 119 - I Intermezzo in B minorn B
Works For Solo Piano: 4 Pieces, Op. 119 - II Intermezzo in E minor
Works For Solo Piano: 4 Pieces, Op. 119 - III Intermezzo in C major
Works For Solo Piano: 4 Pieces, Op. 119 - IV Rhapsody in E flat major

Tracks:

Works For Solo Piano: Andante moderato
Works For Solo Piano: Andante non troppo e con molto espressione
Works For Solo Piano: Andante con moto
Works For Solo Piano: g-moll
Works For Solo Piano: d-moll
Works For Solo Piano: F-dur
Works For Solo Piano: fis-moll
Works For Solo Piano: fis-moll
Works For Solo Piano: Des-dur
Works For Solo Piano: F-dur
Works For Solo Piano: a-moll
Works For Solo Piano: e-moll
Works For Solo Piano: E-dur
Works For Solo Piano: d-moll
Works For Solo Piano: d-moll
Works For Solo Piano: D-dur
Works For Solo Piano: d-moll
Works For Solo Piano: B-dur
Works For Solo Piano: f-moll
Works For Solo Piano: fis-moll
Works For Solo Piano: D-dur
Works For Solo Piano: h-moll
Works For Solo Piano: e-moll
Works For Solo Piano: e-moll

Customer Reviews:

A wonderful offering........2007-08-03

There may be the individual recording made by others - Gilels, Rubinstein, Arrau - of a particular work which might be preferred but as a collection of the Brahms piano works, this set has to take the prize.

The quality of recording is high - here I must sadly observe that the date of recording offers little guide to the quality thereof - and there is a remarkable consistency of piano sound despite the three years spanning the recording dates. One has to listen very attentively to detect which of the four Ballades was recorded monaurally; a strange anachronism in the 'sixties.

As another reviewer has suggested, the accompanying notes in french and german do provide interestingly different perspectives; what I find surprising and more than a little irritating is that beyond a passing (and, seemingly, grudging) mention, no biographical nor any other information is provided about the pianist. Julius Katchen was a consummate musician, very highly regarded in his day but whose achievements (like those of Witold Malcuzynski) are not so well remembered now. This set serves to redress the balance and I recommend it highly.

As an irrelevant aside, some fifty years ago and quite by chance, I found myself sitting next to Katchen on an aircraft. I remember he had unusually expressive hands; a useful attribute as the noise level of a DC3 cabin was not conducive to easy conversation! At the time, I was struggling to learn the G minor Rhapsody and he was very generous with his support. A charming man who prematurely died in 1969.

Buy this set - you won't regret it.

I disagree with the consensus here.......2007-07-11

I was disappointed by this set and would not recommend it. It's great that all of Brahms' piano works are included here and the boxed set includes some difficult to find works (like those Op. 21 variation sets) as well as the better known and wonderful later piano pieces and the Op. 39 Waltzes.

The problem is that Katchen's performances are flawed and often unpleasant. The worst problem is that he bangs the keys a lot. Fortissimo passages are ideally not supposed to be noisy; they are intended to be loud and forceful without being unpleasant. It's a key distinction that Katchen fails to realize. I also think that Katchen's technique is a bit patchy. He blurs the passagework and there is a lack of both accuracy and delicacy in the fast passages. To take an example, the Op. 76 set is marred by both of these problems: a lack of accuracy and a tendency to bang on the keyboard. I also found many of the passages that didn't suffer from these problems to be interpretationally uninteresting (the slow parts of the Paganini Variations, Bk II are undistinguished, to take an example). Big thumbs down.

I did some direct comparison of sets to the Katchen performances and in every case Katchen was far inferior.

Take the Op. 39 Waltzes: Leon Fleisher's old recording is wonderful and much more sensitive and interesting than Katchen.

I also listened to Radu Lupu's recording of the Opp. 117-119 pieces (THAT is a wonderful recording - if you are looking for a superb recording of Brahms piano music, get that one and save yourself the aggravation of the Katchen set) and it's simply no contest.

I also sampled the terrific Op. 79 Rhapsodies and the Paganini Variations as played by a favorite pianist of mine, the lesser-known French pianist Nicholas Angelich, and Katchen's sloppy and undirected interpretations pales before the versions by a "non-superstar" pianist.

So while I admit I haven't listened to every portion of the Katchen set, I found every reason to avoid it when compared to some alternatives available.

Don't hesitate to get this set.......2007-07-04

It's a good thing I waited to write this until I'd heard these CDs a few times. I would have been guilty of understatement. Katchen's work grows on me in much the same way Brahms' music itself does. It is rich in nuance and insight, and never fails to please.

I'll confess, I bought this set to fill the gaps in my piecemeal collection. What a delightful surprise to find my "stopgap" set more than holds its own against recordings by the likes of Richter, Rubinstein and Gilels. To help the reader overcome any reluctance I offer a few comments on the few "downsides" mentioned by others:

Yes, Katchen does play fast, but not always, and certainly not out of inability to hold the listener's attention through more artful means. Katchen's track times are often slower than Rubinstein's or even Gilels'; but where the spirit moves him, he can go like a rocket. He's generally fastest in the earlier works, where a case can be made for playing them with youthful ardor; Katchen does this to a T. This applies to the first 2 sonatas, the Paganini variations (why would anything associated with Paganini lack splash and dazzle?) and to a much lesser extent, parts of the Handel variations. The main thing is, it works. The very few places where I felt Katchen was rushing the music are heavily outnumbered by places where the added energy seems to "fit" like a glove.

Yes, in an exhaustive set you inevitably endure the "bottom of the barrel." I'm surprised how little of this 6-CD set strikes me as anything less than indispensible. Every track is worth hearing. Katchen has been surpassed here and there, but he doesn't put in a bad performance in the whole batch.

Yes, the recordings are more than 40 years old. They will not satisfy the most jaded audiophile (there's not quite the "presence" of a good recording today). But they are amazingly clean and lifelike for their age (even the 3 tracks that are mono). They sound noticeably better than the popular Rubinstein recordings of equal vintage. At first I thought I heard a touch of bass-heaviness, but now I just think Katchen gives us a strong, clear bass line. Once again, it works. The sound is simply not a problem for a normal listener.

Finally, there's the small stuff. Getting the CDs out of their tight-fitting sleeves without putting your fingerprints on the playing surface is well-nigh impossible, unless you give in and apply a letter opener to solve the problem once and for all. Is that any reason not to get this much wonderful music at such a low price? London has even revived the old practice of offering different program notes in different languages, so that multilingual readers can benefit from more than one set of comments. All around it's a winner!

Superb interpretations by Katchen.......2006-11-16

Katchen's performace throughout this collection are excellent.Brahms integrates many of Schumann's,Bach's and Beethovens compositional ideas into his own works.He is a master of the appoggiatura(suspension of the dominant chord).And the ghosts of Bach,Schumann,and Beethoven appear at intervals throughout this collection of his piano works.The VARIATIONS ON AN ORIGINAL THEME is an ethereal experience,and the Op.09 VARIATIONS ON A THEME BY SCHUMANN, composed after his death,Brahms's pathos,especialy in the slower variations, make you aware of his sadness of Schumann passing, as there is vivid sense of despair and remorse you can hear throughout.It is well documented the profound influence Shumann had on Brahms's compositional process.OP.76 is a passionate performance by Katchen.You also have short piano works culminated in Op116,Op 117,Op.118,which includes the great masterpiece in Ebminor,and Op.119.The Pagganini Variations,Variations on a theme by Haydn,the Ballads Op. 10.And both volumes of the HUNGARIAN DANCES,the 2 Rhapsody's,and VARATIONS ON A THEME BY HANDEL.It quite remarkable that such music could be created by such a young man in the astonishing Sonatas,OP.1,OP.2,and OP.5.The slow movements in all three sonates are very inspiring,and heart fealt.It makes you glad to be alive in order to hear such remarkable music.A well balanced performance throughout.If your a Brahms lover,this is a must for your collection.Enjoy

A little rushed sometimes, but beautiful.......2005-02-03

To be honest, I can't really figure out how much I like Katchen's performance. It's hard to gauge because Brahms's piano music is inherently exceptional played by just about any performer.

I feel that the ballades, op. 10 are played way too fast (although I'm not exactly sure how close Katchen is to Brahms's tempi indications). I've heard them by several other performers and, being a Gould fan, would have to say that his slower interpretation really captures how beautiful the pieces are more than anyone else. I also enjoy Kempff's performances of many later works. Katchen really seems so rushed for some reason. To me, that really takes attention away from the fine details, which I think are so essential to Brahms's piano music. He's not quite delicate enough with some of the pieces.

This faster speed is only very slight for the rest of the set, but pretty consistently. I think he does a better job with more intense pieces like many of his larger-scale variations and the sonatas. Those I would give 5 stars, but only 4 stars for the op. 116-119, for they're a little too fast.

My only other qualm is the arrangement of the set. It would be nice to have all the sonatas together on a disc, 116-119 on a disc, etc., going along with the whole chronological thing..

However, all these things are personal preference. I would definitely recommend this set. It's made up about 1/2 of my music listening for the past couple months. It's not expensive at all for what you're getting, and if you get just one Brahms piano cd, you're going to want to get more, so you should just get it over with and have this whole set, it's fabulous music. Just keep in mind that this is not the only interpretation that should be considered.

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

Average customer rating:

The engaging poetry!
Still beautiful to me
barcode piano for barcode lovers everywhere!
Artur Rubinstein great recording of Chopinýs Bolero, Waltzes
The Great Chopin Master

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000031WBU
Release Date: 2001-01-09

Tracks:

Waltz in E flat, Op.18: Grande Valse Brillante
Waltz in A flat, Op.34 No.I: Valse Brillante
Waltz in a, Op.34 No.2: Valse Brillante
Waltz in F, Op.34 No.3: Valse Brillante
Waltz in A flat, Op.34 No.3: Valse Brillante
Waltz in D flat, Op.64 No.I: Minute
Waltz in c#, Op.64 No.2
Waltz in A flat, Op.64 No.3
Waltz in A flat, Op.69 No.I: L'Adieu
Waltz in b, Op.69 No.I
Waltz in G flat, Op.70 No.I
Waltz in f, Op.70 No.2
Waltz in D flat, Op.70 No.3
Waltz in e, Op.posth.
Impromptu No.I in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat
Fant-Impromptu in c#, Op.66
Bolero in A, Op.19

Customer Reviews:

The engaging poetry!.......2006-12-19

One of the maxim exponents of Chopin in the first decades of the Century was undeniably Arthur Rubinstein. He knew to create - if I may - the perfect link between image and the Polish sentiment ; although the pioneer in this sense was Ignaz Jan Paderewski. Lodz was his birthplace and if Chopin was a self exiled in his historical moment., Rubinstein must have taken into account in September 1 1939.

He nourished the last traces of a dying romanticism - as well as Rachmaninov did it - after his forced exile from URSS. His golden sound was far from the tragic approach given by of Alfred Cortot, for instance. He played the piano according the canons of the artist of the Century XIX, expression and sentimentality, hovered by an ardent nationalism that still inflamed the poetic imagination in some corners of the world, specially in the enormous immigrant wave who chose different places in America in order to search a promised land.

His direct phrasing without intellectual or philosophical approaches deserved to him a special name in the Western hemisphere.

He is now part of the keyboard's legend as well as one of the Chopin`s champions.

Still beautiful to me.......2005-11-04

As a piano student during the 1950s and early 1960s, I remember that there were "knock down drag out" arguments between the "pro-Rubinstein" factions and the "anti-Rubinstein" factions of the classical piano performing world. I was made keenly aware of the aforesaid because my piano instructor was a "dye-hard" member of the "anti-Rubinstein" faction. Rebelliously, I purchased all of the Rubinstein recordings that I could get my little untalented hands on including this recording of Chopin's Waltzes. I remember loving them at the time as I still do now that I've restored this recording on CD to my collection.
Rubinstein's performance in this recording really touches my very soul. Upon hearing this recording again, I'm reminded of how much I loved them almost 50 years ago. Whatever one may call his playing (eccentric, sentimental, syrupy, etc.) it certainly has retained its appeal to me--as a young person or now as an older person. (Note: Rubinstein particularly plays the "sad little" waltzes in minor keys exquisitely!)
If you want to hear a master (at least to me) of Chopin playing some wonderful works, buy this disc.

barcode piano for barcode lovers everywhere!.......2005-04-23

i must repeat myself over and over again.STAY AWAY FROM RUBINSTEIN.his playing is just too eccentric its as if he was abducted by aliens and had chopins works downloaded into his brain.what you get is a sort of robotic chemistry with a dire attempt to sound artistic.
these high reviews do baffle me to oblivion.

Artur Rubinstein great recording of Chopinýs Bolero, Waltzes.......2004-01-05

Artur Rubinstein great recording of Chopin's Bolero and 14 Waltzes
By Peter Dietrich, president, Chopin Society of New England

Artur Rubinstein's performance of the fourteen waltzes seems to be among the definitive versions. This stereo recording from a one day session in June of 1963, issued on BMG in the Rubinstein collection volume 47, and the earlier version first issued on LP RCA Victor LM-1892 recorded in December, 1953 and issued on BMG Rubinstein collection volume 29, equals in sound and profound understanding the two great versions by Alexander Brailowsky (1896-1976) recorded in the early fifties on LP for RCA Victor LM-1082 as well as the stereo recording from the early sixties issued on Sony Music SBK 46346 in 1990.

The four recordings are milestones of the classical waltzes. Their interpretations have achieved expert fluidity with grace and elegance of nobility. As Robert Schumann remarked "should be danced at least by countesses." To the above recordings I will add Dinu Lipatti's recording issued by EMI in the Great Recordings of the Century series. My opinion is based on hearing a great number of outstanding as well as good performances through more than fifty years. I will just list several additional names from my collection who have recorded fourteen waltzes: 1) Robert Lortat (1930), 2) Alfred Cortot (1934 and 1943), 3) Edward Kilenyi (1952), 4) Moura Lympany (1959), 5) Witold Malcuzynski (1959), 6) Regina Smendzianka (1959 and 1961), 7) Samson Francois (1964), 8) Stefan Askenase (1964), 9) Adam Harasiewicz (1965), 10) Tamas Vassary (1966); pianists who have recorded nineteen waltzes: 1) Augustin Anievas (1970), 2) Geoges Cziffra (1979), 3) Claudio Arrau (1980 - several of the waltzes are played too slow), 4) Vladimir Ashkenazy (1984), 5) Lidia Grychtolowna (1989), 6) Istvan Szekely (1992), 7) Garrick Ohlsson (1996 - 20 waltzes in this recording) 8) Jerzy Sterczynski (1996 - 23 waltzes, which will be discussed in the future).

The famous Polish poet Kazimierz Wierzynski author of the "Life and Death of Chopin" (1949) makes the following observation. "Chopin's Waltzes have little or nothing in common with the atmosphere of the ballroom. Niecks calls them Tanzdichtungen (dance poems). How does Rubinstein play the Chopin Waltzes? Surely, their worldliness and elegance are particularly suited to this worldly and elegant pianist whose incomparable virtuosity goes hand in hand with his unique feeling for Chopin. Without in the least sentimentalizing Chopin, Rubinstein fully renders his warmth: he is the ideal interpreter of the waltzes in which tenderness is so subtly blended with sparkle, playfulness and deep emotion."

Other Chopin works included in this compilation are the four impromptus recorded in 1964 and the Bolero recorded in 1962. Harvey Sachs, author of Rubinstein's biography published by Grove Press, New York, 1995, wrote the following notes for this compilation: "The 1964 version of the Impromptus, heard here is typical of the beautifully poised, yet deeply poetic Chopin recordings that Rubinstein made in his seventies as a sort of summa of his interpretations of the music of his great compatriot." However, the glory of this compilation is the Bolero in A Major, Op. 19. Until the Rubinstein recording in 1962 when he was almost 75 years old, this work was "obscure" Chopin, almost completely forgotten and recorded very seldom as well as terribly underrated. Despite the obscurity of the work for such a long time, there are several recordings of it in existence. I will list the notable recordings from my collection according to their release:
1) Adam Harasiewicz, Philips (1972); 2) Arnaldo Cohen, Dischi Ricordi, LP (1978); 3) Nikita Magaloff, Philips (1979); 4) Vladimir Ashkenazy, London/Decca (1987); 5) Georges Cziffra, EMI (1987); 6) Nelly Ben-Or, Meridian Records (1989); 7) Idil Biret, Naxos (1993); 8) Garrick Ohlsson, Arabesque, vol. 8 (1997); 9) Emil von Saur (recorded 1940) Arbiter (1998); 10) Anatol Ugorski, Chopin Complete Edition DG, vol. 7 (1999).

All the above recordings, although inspired performances and technically excellent, do not reveal the hidden beauty of the dance, as does Artur Rubinstein in his performance. Mr. Rubinstein unhurried tempos and magical play with the pedal plus his affinity for Spanish music brings this work to interpretative splendid heights unknown until his recording and since. These five star performances are highly recommended for every music lover.

The Great Chopin Master.......2003-07-26

This CD is superb. It shows the best of Rubinstein's Chopin.He did this CD with so much clearness and feeling. Rubinstein ends the CD with the little known Bolero. I reccomend it a lot.

Philip Glass: The Concerto Project, Vol. 1

Average customer rating:

Timpanists excel
Two fantastic concertos
This is my story why I bought and fell in love with this album.
Great!
A must for all percussionists and music lovers

Philip Glass: The Concerto Project, Vol. 1

Manufacturer: Orange Mountain Music
ProductGroup: Music
Binding: Audio CD

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Philip Glass: The Concerto Project, Vol. 2
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ASIN: B0002X4UBA
Release Date: 2004-09-11

Tracks:

Concerto for Cello and Orchestra - Movement I
Concerto for Cello and Orchestra - Movement II
Concerto for Cello and Orchestra - Movement III
Concerto Fantasy for Two Timpanists and Orchestra - Movement I
Concerto Fantasy for Two Timpanists and Orchestra - Movement II
Concerto Fantasy for Two Timpanists and Orchestra - Cadenza
Concerto Fantasy for Two Timpanists and Orchestra - Movement III

Product Description

CONCERTO PROJECT 1 This is the first of a series of four CDs that Philip Glass and Orange Mountain Music have planned entitled The Concerto Project, No. I-IV Each disc contains two concerti. Omm0014 features Julian Lloyd Webber with the Royal Liverpool Philharmonic Orchestra conducted by Gerard Schwarz performining Concerto for Cello and Orchestra and Evelyn Glennie and Jonathan Haas performing Concerto Fantasy for Two Timpanists and Orchestra also with Gerard Schwarz conducting the Royal Liverpool Philharmonic Orchestra. World-class soloists, excellent orchestra, excellent conducting and the beautiful sounding Philharmonic Hall in Liverpool, together with major compositions from the worlds preeminent composer, Philip Glass.

Album Details

Recorded in January 2004 at the Orchestra's Acoustically Magnificent Home of the Philharmonic Hall in Liverpool, this Superb Release Marks Another Landmark in the Development of Philip Glass' Orange Mountain Music Label. The First Release in the Four Volume Concerto Project Brings Together a Top English Orchestra with Two of the Country's Best Known Classical Instrumentalists, Together with the Paganini of Thetimpani, Jonathan Haas. With an Exclusive Booklet, this Release Signals an Elevation in the Profile of this Already Important Label.

Customer Reviews:

Timpanists excel.......2007-03-09

The concerto for two tympanists and orchestra was worth the price of the disc.

Two fantastic concertos.......2006-08-09

Unlike certain individuals within the more "sophisticated" crowd, I am not afraid to admit that I like the minimalist music of Philip Glass (b. 1937). Glass' style is very distinct, making use of recurring arpeggios, recurring syncopated patterns and recurring melodic ideas. I used to the word "recurring" three times in the previous sentence to emphasize that repetition is an important element of Glass' music. This would spell trouble for most composers, but Glass pulls this off by continually driving the music forward to achieve greater intensity and incorporating fascinating harmonic shifts that give his music an almost hypnotic quality.

Some have faulted Glass for continuing his reliance on the techniques mentioned above (for decades!). So first off, anyone looking for a radical new direction in Glass' music will be disappointed with this release. While others, such as myself, who enjoy Glass' unique style, will surely love this CD. Rest assured, arpeggios abound, and syncopated motifs propel the music forward.

Of the two concertos, the Concerto Fantasy for Two Timpanists (premiered in 2000) is probably the one that will compel people to purchase this album. A concerto for a percussion instrument is a bit of an oddity. And this concerto, scored for nine timpani played by two timpanists, is pretty much what you would expect. It is intense, it is propulsive and it is aggressive. Glass doesn't seem too keen on exploring the subtleties of the timpani here. The music begins at a good clip with pounding timpani at forte, banging out the movement's theme in 5/4 time. Although, the themes employed by Glass vary in their intensity, the timpani part itself continues its aggressive, perhaps primitive, pounding until the conclusion of the movement. Now how do you compose a slow movement for nine timpani? Not an easy feat, but Glass pulls it off the (for the most part) by composing a processional that gradually builds in intensity to a climax, which then fades away. The finale of the concerto is similar to the opening movement. Lots of aggressive, percussive playing is to be found here. The syncopated opening theme of this movement, to me, has a decidedly Nordic feel to it. In short, this concerto is fantastic and will not disappoint percussion enthusiasts or admirers of Glass' style, just as long as they don't expect this piece to be something it is not. It's a timpani concerto.

Although this CD will be purchased for the timpani concerto, I think after a couple of listenings, the more reflective cello concerto (premiered in 2001) will prove equally interesting; and possibly more so. The mood of the first two movements is somber, with the rhythmic intensity of the timpani concerto nowhere to be found. However, the music is no less fascinating, with Glass' distinctive harmonic modulations and characteristic orchestration. The themes themselves are weightier and more substantial than the ones from Glass' earlier days, but repetition is still an important element to this concerto. The slow movement is especially lovely. This movement does last 14 minutes, for some reason, but is none the worse for it, as the cello's expressive recurring theme never gets stale. Things heat up a bit more in the finale, with the previously released violin concerto coming to mind. Julian Lloyd Weber, does well navigating through the sixteenth-note-laden solo part, while the percussion section, especially the castanet player, propels the music forward with repetitive rhythmic ideas. My only quibble with this piece is the ending, which is very abrupt, as if Glass was unplugged or blew a fuse in the midst of his syncopating. However, Glass' tendency to conclude with sudden, harmonically bizarre, codas is one of his "trademarks." Like a car going down a hill with no brakes, Glass' music has no problem sustaining its forward momentum; however its halt isn't pretty.

Despite this, this disc has my full recommendation. The reflective cello concerto contrasts nicely against the assertive timpani concerto. This is fascinating music that will appeal to all (except those who take themselves too seriously) and deserves a place in the library of any acquirer of recent classical music.

55:12

This is my story why I bought and fell in love with this album........2005-12-26

I still remember the incredible sensation I felt one night listening to Philip Glass' "Concerto Fantasy for Two Timpanists and Orchestra" for the first time on my car radio.

It happend about a year ago. After dining at Hooters in Santa Monica with some of my drumline friends, I hopped back into my car, turned on the engine, and all the sudden, the sound of timpani filled the car! I mean LOTS and LOTS of it! Listening to the orchestral accompaniment, I knew it was a concerto piece... a very modern concerto piece. The music was simply mesmerizing, with the orchestra playing rather refreshingly consonant chords, while the drums were struck all over the place, at times arpeggiating, and at times singing the melody. It either had to be a soloist playing so many drums, or even two playing them.

I simply had to know what this strange new piece was, so I listened throughout my whole drive on the dark highways and freeways back home. Lasting pretty long, I knew I must have listened from the first movement. As the music progressed, there was a slower movement, the followed by a huge cadenza featuring the timpani, before another fast movement. By the time I reached home, the music came to an exhilirating close, and listened like an eager student... "Concerto Fantasy for Two Timpanists and Orchestra by Philip Glass ("Philip Glass? Really?", the soloists being Jonathan Haas and Evelyn Glennie ("Evelyn Glennie? I know her!"), with the Royal Liverpool Philharmonic under Gerald Schwartz."

I never hesistated by buy the album featuring this work. It only took days for me to find the right album with the right performers (well, this IS the only performance so far, being a premiere recording).

As a percussionist (with timpani being my favorite instrument), I bought this album just for the Timpani piece... obviously. Based on the booklet, the soloists Jonathan Haas (dubbed the "Paganini of Timpani") and Evelyn Glennie (probably THE best percussionist in the world), played on seven drums each, so that's FOURTEEN total! The work did prove a challenge to the performers, but the recording came out very well.

If you love timpani, then you'll absolutely love this work. Guaranteed! I truly cherish the work, and I am hoping to play it in the future to show my obsession with my favorite percussion instrument.

Great!.......2005-07-01

Excellent service, as always. They seem to have all the stuff you can't find anywhere else.

A must for all percussionists and music lovers.......2004-11-13

In listening to the first movement of the Concerto Fantasy for Two Timpanists, I was completely drawn into the play of these two brilliant percussionists, Evelyn Glennie and Jonathan Haas. The very sound of fourteen timpani in concert together with the Royal Liverpool Philharmonic Orchestra is just amazing and from the start makes you sit up and take notice. The play between the strings and timpani is fantastic in the first movement. In this work the listener will get a true appreciation for the beautiful and powerful tone of the timpani. This is especially true in listening to the Cadenza where Glennie and Haas coax and reveal a variety of different tones and colors from their timpani, the voice of the timpani is revealed here. Movement III is the marvelous reward and bright payoff off of the piece, with the timpanists playing in harmony with the full orchestra once again. Featuring the timpani as a solo instrument in this context is fresh and very different. I hope to have the opportunity to see and feel a performance of this concerto in the future, especially if performed by Glennie and Haas.

Average customer rating:

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Live At Keystone, Vol. 1 [LIVE]
you gotta have this on vinyl - get the cd

Live at Keystone, Vol. 1
Merl Saunders & Jerry Garcia
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Positively 4th Street - David Grisman
The Harder They Come
It Takes A Lot To Laugh, It Takes A Train To Cry
Space
It's No Use
Merl's Tune

Customer Reviews:

Best Garcia Live disc available!.......2001-05-02

I have absolutely loved this album since first getting it as a record in the 70's. It is the (along with the 2 other Keystone recordings) Garcia album that I keep coming back to over and over. Jerry's singing is as soulful as on any recording he ever made. His gitar playing during this period is a bit more sparse than during later periods, but is as emotional as it gets. Although "Space" and "merls tune" are a bit lacking compared to the Dead's jams, all the other songs are classics. On "It's too late" (my personal favorite) Jerry makes his gitar sing. Merl's keyboards complement Garcia very well. He gives Jerry the room to shine shine shine. If you buy only one Garcia album this is it. (Vol 2 and Keystone Encores rate a close 2nd and 3rd.)

Live At Keystone, Vol. 1 [LIVE].......2000-08-10

Get this. Get all of the Keystone releases. John Kahn is a fantastic bassist who provides an interesting contrast to the Dead's bass player, Phil Lesh. His playing helps bring out plenty of sweet lyrical magic from Jerry's guitar.

you gotta have this on vinyl - get the cd.......2000-01-20

Positively & It Takes A Lot To Laugh are classics in themselves - everything else is candy and its way sweet candy - you wont be disappointed - get this CD

Average customer rating:

Huge disappointment
David Bromberg "How late you play til"
David Bromberg how late'll you play'til?
Good stuff!
One of the best and most timeless.

How Late'll Ya Play 'Til?, Vol. 1: Live
David Bromberg
Manufacturer: Fantasy
ProductGroup: Music
Binding: Audio CD

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Similar Items:

How Late'll Ya Play 'Til?, Vol. 2: Studio
Wanted Dead or Alive
Midnight on the Water
Reckless Abandon/Bandit in a Bathing Suit
My Own House/You Should See the Rest of the Band

ASIN: B000000XD7
Release Date: 1995-01-10

Tracks:

Sloppy Drunk
Bullfrog Blues
Sweet Home Chicago
Come On In My Kitchen
Will Not Be Your Fool
Such A Night
Loaded And Laid
Make Me A Pallet

Customer Reviews:

Huge disappointment.......2006-01-21

I first heard Bromberg's music on a friend's album, and was wowed by I Will Not Be Your Fool. Bought the cassette and listened to it for years. But now its started to show its age and I decided to buy the CD

Well, two CDs actually. They showed up yesterday and I eagerly opened them and gave a listen. Oh my. First of all, Fool has been edited, and the ending is not the same as the one on the cassette. Several lesser songs have been added so they could make this a 2 CD set. And there is something different about several of the songs, as if they substituted a different band for this recording (The cover says no, but it sounds quite different to me).

I'm giving it 3 stars because I still love many of the songs, and if you've never heard Bromberg, you'll probably enjoy. But I'm gonna trade these in at my used record store, and see if I can find a used copy of the cassette. In the meantime, buyer beware!

David Bromberg "How late you play til".......2005-08-02

I very much enjoy this CD and I especially enjoy David Bromberg.

David Bromberg how late'll you play'til?.......2004-10-02

I first heard this album(A vinyl type disc.)in 1981. It was stolen a short time after that and just kinda forgot about it untill I ran across it on Amazon.com. I loved it then and I love it now. Thank, You!

Good stuff!.......2004-07-22

Nobody's given this album five stars, so I will. Another reviewer wrote "timeless". That's a great summation. I first bought this album as a nineteen y/o kid in 1977. I was in the Navy and read a review in Playboy magazine. (Hey, what else does a sailor have to do?) Since then this album, both the Live and Studio studio sides, have been on my favorites list. 'Nough said.

One of the best and most timeless........2004-04-09

Great album. It makes you want to get up and get those happy feet going. I saw him at St. Bonaventure University in the late 70's. One of the best concerts I have ever seen.

Tracks:

Polonaises No.1 in c#, Op.26 No.1
Polonaises No.2 in e flat, Op.26 No.2
Polonaises No.3 in A, Op.40 No.1 'Military'
Polonaises No.4 in c, Op.40 No.2
Polonaises No.5 in f#, Op.44
Polonaises No.66 in A flat, Op.53 'Heroic'
Polonaises Fants in A flat, Op.61
Andante Spianato in E flat, Op.22
Grande Polonaise in E flat, Op.22

Customer Reviews:

Chopin's mature Polonaises by Artur Rubinstein.......2004-05-20

Chopin's mature Polonaises by Artur Rubinstein
By Peter Dietrich, President of the Chopin Society of New England, Inc.

Three great and famous recordings of Chopin's mature Polonaises by Artur Rubinstein. It all started in June 1952. I was walking on Washington Street in Boston, Massachusetts and while looking at a display window of a music store I noticed an LP record, LM 1205 (which I still have in my library) of Chopin Polonaises, vol. 1. I entered the store and purchased that record for the price of $5.95 not realizing at all that I was holding in my hands not only one of the best and most convincing recordings that Rubinstein had ever made together with vol. 2 LMI 52 Polonaises, but unquestionably the greatest recording of the Chopin Polonaises by any other pianist of the 20th century.
This recording of the polonaises from the 1950-1951 season was the second set recorded by Artur Rubinstein when he was in his absolute prime (aged 63-64) capable of the most convincing interpretations of these heroic works. His unhurried tempos, his magical use of the pedal has achieved musical clarity undreamed of by any other pianist before and since. He was very fortunate to get an excellent sound from RCA engineers despite being recorded in mono only and the two records despite their fifty-two years in use still sound beautiful.
The present reissue I am reviewing of all three different recordings is from the complete Rubinstein 94 disc set edition which I purchased in 1999 and the digitally remastered edition of vol. 28 sounds even better than the LP edition of 1952.
The earlier set of the 8 polonaises recorded in December of 1934 and January-February of 1935(first issued on 78-RPM records) is in the present edition reissued in vol. 4. These are already mature performances, particularly Polonaises 5 and 6, which are intense and beautiful and have many qualities of the later recordings. We have to remember that the 78-RPM era was very challenging to every artist because of the rather primitive recording equipment of the time and a limited time for each side of a record. Despite all of the difficulties the achievement is outstanding and it is a joy to listen to Rubinstein's earlier recordings and compare them with the later and perhaps more mature performances and be able to notice the changes in growth of Rubinstein's artistry.
The 3rd and final set, vol. 48 of the 8 mature polonaises was recorded in Carnegie Hall, New York City, in March of 1964 in stereophonic sound, when Rubinstein was 77 years old. These are also great performances, more mellow and a shade less robust and dramatic than his 1950-51 renditions. They also lack the tremendous intensity and urgency when compared with his 1951 crowning achievement. Almost all the repeats are omitted in the A Major Polonaise, Op. 40, No. 1 while in the C-minor Polonaise, Op. 40, No. 2 all repeats are restored. Personally, I like when all the repeats are included because it makes the work more complete, particularly in the polonaises, because it makes them sound more intense and monumental. All of Chopin's markings are very clear and they should be respected.
The only regret one may have is why Rubinstein, who was so great and successful in performing Chopin's music, never recorded the earlier Polonaises and the rest of Chopin's known works? Some Chopin scholars have made various statements that outside of the etudes; Chopin's other less known works were not worthy of performing. Completely false! All of Chopin's music is worthy of performance, which has been proven by the younger generation of pianists who have recorded his complete works.
Rubinstein performed in Boston, Massachusetts at least sixteen times between the mid fifties until his retirement in 1976, not counting his performances with the Boston Symphony Orchestra. I was fortunate and privileged to have attended almost every performance and relished the opportunity of having spoken to the artist on several occasions. In 1965, after his last recording of the polonaises, I asked him if he had recorded all of the polonaises? His answer was "yes." I replied "all?" To this he responded: "From my early years, I loved to play the piano but I hated the practicing. If I had been more willing to work hard, I could have played 100 more pieces of music." Then I asked him about the etudes? "Oh, no! I am not ready, yet. I am still working on polishing them. Probably, I will die sooner than record them," was his reply. Unfortunately, he never recorded them. It is a pity because several of the etudes he programmed in his recitals in Boston, playing them every time very beautifully. He was a great pianist, a master musician and demanded the impossible from himself.
Summarizing the monumental achievement by one of the greatest artists of the 20th century it makes one feel as if the world is a better place, where all problems disappear and only love an beauty reign. Are there any further recommendations necessary?

Aristocratic Polonaises from Rubinstein.......2001-05-17

Volume 48 of RCA's Complete Arthur Rubinstein collection features the pianist in his final authorized recordings of works he was born to play. Chopin's Polonaises were based upon the aristocratic dance of his beloved Poland--although these works are not, in the strictest sense, meant to be danced to.

Rubinstein made three complete sets of Polonaises. The first version, recorded on 78RPM discs in the 1930s, is indescribable in its elan and brio, but occasionally veers out of control. The second set--in my opinion the best of the three--was recorded in the 1950s and demonstrated Rubinstein to be in far better control, both musically and technically, with most of the vigor of the earlier version. This third version, recorded in Carnegie Hall in 1964, is more autumnal and aristocratic in approach. Rubinstein can certainly turn up the heat when he so desires, but on the whole these performances are far more mellow than in the earlier recordings. In concert, he would become fired-up by the audience's presence, and his playing live more closely resembled the earlier recordings. To hear what Rubinstein was like during "battle-conditions," check out Rubinstein in Moscow (Volume 62) which includes two of Chopin's Polonaises.

Tracks:

I. Allegro
II. Adagio
III. Menuetto: Allegro
IV. Allegro
I. Molto Moderato E Cantabile
II. Andante
III. Menuetto: Allegro Moderato
IV. Allegretto
I. Moderato
II. Allegretto

Tracks:

I. Moderato
II. Andante, Poco Mosso
III. Scherzo: Allegro Vivace
IV. Rondo: Allegro Vivace
I. Allegro Ma Non Troppo
II. Andante
III. Scherzo: Allegretto
IV. Allegro Giusto
I. Moderato
II. Andante

Customer Reviews:

Awful.......2005-12-23

I bought the complete set, so I could get familiar with all of Schubert's piano works. After a couple of weeks, I threw all the disks away. There are much finer artists who bring individuality, verve and style to some of the greatest piano music ever written. Unfortunately, Mr. Kempf is not one of them.

Beautiful!.......2004-12-25

I have no complaints about this very reasonably-priced set of Schubert Piano Sonatas. In fact, I liked it so much, I bought Volumes Two and Three. The music is lovely, the recording is excellent. These sonatas are not as intense as Beethoven's, written at about the same time, but are in some ways more beautiful; they certainly create a more relaxing musical atmosphere. Though the music has its moments of tension, these interludes are usually resolved in a flowing melody or phrase. I would recommend this set to anyone who enjoys Schubert's music. It's nice to find the old Vox Boxes on CD. It is also enlightening to compare this set to the superlative Wilhelm Kempff's cycle of Schubert sonatas.

Schubert Piano Sonatas by Walter Klein.......2003-05-16

Walter Klein delivers beautiful renditions of the Schubert sonatas in this set of CD's. So much fine music for a real bargain price.

Complete Schubert , well done, at a Great Value.......2000-03-17

Franz Schubert's Piano Sonatas have had the great misfortune of being written about the same time as Beethoven's sonatas. Beethoven's are the ne plus ultra of the piano sonata and are justly esteemed by music lovers everywhere. Schubert's sonatas while lacking Beethoven's ruthless logic and frequent virtuosity are, if anything, more beautiful. They unfold at a ser