New French Folk Music

Track Listings

1. Schottische du Stockfish

2. Malloz AR Barz Koz O Vervel

3. Chupad Melen/Hanterdro Tid'poc'h

4. Agacante/Vaise du Milieu/Valse du Faucigny

5. Pucelle d'Ussel

6. Filles de France

7. Suite de Gavottes Evit Leroux

8. Bourrées Dans le Jardin

9. Polkas Ratées

10. Valse des Coquelicots/Java Niaise

11. Fillettes des Campagnes

12. Dro Pitaouer/An Dro Evit Jakeza

13. Malfaissante

New French Folk Music,Ad Vielle Que Pourra,Green Linnet,Celtic Folk,Celtic/Irish,Ethnic Fusion,Europe,France,French Folk,Int'l & World Music,Nova Scotia,Quebec,World Music

Tracks:

Toora Loora Looral
Will Ye Go Lassie Go
Spanish Lady
When Irish Eyes Are Smiling
Percy French Medley: Phil The Fluther's Ball, Come Back Paddy Reilly, The Lay Of The West Clare Reailway, Are Ye Right There Michael?
Amazing Grace
Nearer My God To Thee
Danny Boy
Fields of Athenry
Only The River Runs Free
Molly Malone
Last Rose of Summer
She Moved Through the Fair
Maggie
New Medley (combination of the 2 medleys

Product Description

1. Toora Loora Looral
2. Will Ye Go Lassie Go
3. Spanish Lady
4. When Irish Eyes Are Smiling
5. Percy French Medley: Phil The Fluther's Ball, Come Back Paddy Reilly, The Lay Of The West Clare Railway - Are Ye Right There Michael?
6. Amazing Grace
7. Nearer My God To Thee
8. Danny Boy
9. Fields Of Athenry
10. Only The River Runs Free
11. Molly Malone
12. Last Rose Of Summer
13. She Moved Through The Fair
14. Maggie
15. New Medley (Combination of the 2 medleys)

Format: CD

Amazon.com

In the short time since they grouped together a few years ago to form their sensationally successful trio, the Irish Tenors have already put out an impressive array of recordings and DVDs, including some bona fide gooseflesh-inducing live concert performances. So, if you still have the enviable pleasure of discovering these amazing vocalists--or want to turn a friend on to their musical charms--this compilation CD will do the trick nicely. It brings together such classics as "Danny Boy," "Toora Loora Looral," "Last Rose of Summer," and "When Irish Eyes Are Smiling" (featuring John McDermott)--all rendered with the kind of passionate, heartfelt, and harmonious crooning that is their signature style, whether they're singing as an ensemble or as highlighted soloists. And even if you have the complete Irish Tenors, this anthology includes several numbers not found on their previously released CDs. Hard to think of a sweeter treat for a fan of singing too good to ever go out of fashion. --Sarah Chin

Customer Reviews:

Irish at it's best........2007-05-07

This album is really the number two album from this trio. It is very good and well worth the investment. The five star album by The Irish Tenors would have to be Heritage. Both albums rate high in my book.

Irish Magic.......2006-08-21

This is my first CD of the Irish Tenors. And what a joy! I played it as soon as it arrived. I like the blend of their voices,the passion and enthusiasm they bring to this CD. What I find is a real treat is the words to all the songs are in the booklet.I love this CD.

Just got your Kleenex.......2005-12-25

I suggest a box of Kleenex for each person in the room when you play this CD or VHS recording. Mom won't let me play it anymore because she...well, you know what I mean.

Wonderful!.......2005-12-12

When it's cold and frightful here, I play The BOYZ!

So wonderful. So much fun.

Up here in backwash Maine, there ain't much, believe me. But these guys are great. Sincere, care about what they're doing, true artists.

Ah, to go to Ireland again. Well, not unless the price of natural gas recedes!

The Very Best of the Irish Tenors is just that!.......2005-01-22

This recording is wonderful. Ronan's "last Rose of summer" is unique, the Percy French medley shows all three in great voice, Finbar's Maggie is wonderful and the laurels have to go to Anthony for his magnificent rendition of "She moved through the fair", wow!!!!

Well worth buying.

Isaac Chute

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
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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The Young Person's Guide to the Orchestra (Book & CD)
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ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
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.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
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...
The Planets (Mars - The Bringer Of War)
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
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
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.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
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.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
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.
Capriccio Di Bravura
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)
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....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
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...
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)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
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).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
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
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
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.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
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.
Gymnopedie No.2
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...
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)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
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.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
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.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
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
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

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

Tracks:

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

Customer Reviews:

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!

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!

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!

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.

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.

Tracks:

Couplets: 'Votre Toast Je Peu Vous Le Rendre' (Toreador Song)
Shenandoah
Bugeillio'r Gwenith Gwyn
'C'etait Le Soir' - 'Aufondu Du Temple Saint'
The Lord Is My Shepherd
Danny Boy
Bella Notte
Goin' Home
Swing Low, Sweet Chariot
Home Sweet Home
Ave Maria D 839
Il Mio Cure Va
At The River
None But The Lonley Heart
If I Can Help Somebody
Wiegenlied
Abide With Me
Lazybones

Amazon.com

The title of this CD tells it all. Here is one popular classic after another, some folk or traditional, some operatic, some religious or inspirational, some pop. The result in the throat/mind/sensibility of any other singer might be soupy, sappy, or simply uninteresting, but Bryn Terfel--he of the rolling bass-baritone voice who can smoothly deliver notes and phrases at any dynamic level--turns this generous, somewhat sentimental recital into something beautiful and special. After a rousing "Toreador Song" from Carmen, sung with just the right weight (most baritones find it too low, most basses too high) comes a ravishing version of "Shenandoah"; a fine Welsh song is followed by the stunning duet from Bizet's The Pearl Fishers, with Andrea Bocelli singing the tenor part gleamingly and Terfel considerately underplaying his hand. And so it continues through Brahms' Lullaby and Schubert's Ave Maria; the "Love Theme from Titanic" sung with great restraint; renditions of "Danny Boy" and "Home Sweet Home" which are just beautiful; the spirituals "Swing Low, Sweet Chariot" and "At the River," slightly anachronistic but still effective; the gluey "If I Can Help Somebody"; and a few more. It's amazing that Terfel can bring such variety to material which is temperamentally so similar. Some of the arrangements are a bit sticky and overdone, but overall, this disc is a beauty for all seasons. It will make a lovely gift to music lovers of all types. --Robert Levine

Customer Reviews:

Excellent Voice, Cheap Music.......2006-04-27

Bryn Terfel sings everything beautifully. The difficulty with this CD is that some of the music is extremely tawdry.
"The Lord is My Shepherd" and "Abide With Me" are very nicely sung, although the arrangements (like almost all hymn arrangements) leave a good bit to be desired.
The big surprise was to hear him sing "Lazybones" to perfection.
But on the whole it is far better to hear him sing music whose quality matches that of his voice.

You are all idiots.......2006-04-04

Bryn is aweful. This CD is horrific. Listen to real opera you morons. Listening to Bryn is like pouring sugar down your throat until you vomit. Does anyone know what an "operatic baritone" really sounds like. Bryn is the emproer with no clothes and you all are fools.

Bryn Terfel, the Magnificent, sings 'Something for Everyone'.......2005-06-28

Surely one of the most beautiful baritone voices on the opera stage and in the recital hall today is that of Welshman Bryn Terfel. He is one of those rare artists who has a magnificent voice, intense musicality, and magical stage presence. Terfel could sing the telephone book and make it beautiful.

And sadly that is what this album resembles: the choice of songs and the arrangements and friends with whom he elects to perform raises some concern about his artistic integrity. Having purchased this CD based on hearing 'Toreador Song' from 'Carmen' - clearly the finest, most highly nuanced performance of this famous aria ever sung! - this listener expected a concert of similar arias. Wrong! This is like a summer night at Hollywood Bowl with bits and pieces of all manner of songs, some tasteful, others less so, but whatever Terfel sings it is good to hear his voice.

Some of the more successful tracks include 'Shenandoah', 'Danny Boy', Brahms' 'Lullaby', and a Welsh tune 'Bugeilio'r Gwenith Gwyn' sung in Welsh. But then Terfel opts to sing Tchaikovsky's 'None but the lonely heart' in English rather than Russian, a Disney song (from Lady and the Tramp) in Italian, and for some reason includes duets with a soprano by the sole name of Sissel ('Ave Maria'), an awful pairing with Andrea Bocelli for The Pearl Fishers duet (terrible to compare these two polarized voices!), and some choral and jazz ditties. Whew!

If you can get past the pick and save repertoire here and just relax with Terfel's artistry you are in for a treat. Not for the purists, but definitely a find for the 'crossover crowd'. Grady Harp, June 05

Bryn Terfel's voice is magnificent, this album superb........2005-05-05

I am hoping every possible purchaser of this album will read this review. Bryn Terfel is a singer whose voice has been touched by God. Rich, powerful, masculine, elegant, emotionally moving. His taste in music is varied and wonderful. I listen to him more often than any other vocalist in my vast vocal music collection. Therefore, I get more value out of his CD's than any other I own. If you love great vocal music sung by one of the greatest baritones of all time, buy this CD immediately. It will quickly become one of your treasured favorites. And Mr. Terfel, please know that your voice touches people all around the world. Thank you for the great music and inspiration, Sir.

Popular favorites sung by a fine concert baritone-bass.......2005-04-20

First of all, we have to recognize that Bryn Terfel is one helluva fine concert/operatic baritone with a huge, powerful, and beautiful voice. (I think any other assessment must be based on nit-picking and misses the forest for the trees.)

In the present program we may wonder whether Terfel's particular (and enormous) talent is well matched to the popular selections chosen. Overall, I say yes: Terfel gives fine and generally convincing performances of this widely varied program--and there are precious few (if any) who could do better.

Let's take a look at what's here:

On the famous toreador song from Bizet's "Carmen" Terfel gives a very fine, operatic rendition of the bull-fighter's swaggering, macho aria. His diction in French is faultless and his singing style unreproachable. What more do you want?

In "Shenandoah" Terfel takes on an American folksong, and here is hardly in his home territory. He sings it well, as a concert artist, and perhaps a bit more dramatically than necessary. His pronunciation of American English is very good--except that he's deceived by the "ss" in Missouri and does not give us the "z" sound which every American would. The use of the pipes by Neil Martin adds a lovely, wistful touch to this sentimental bit of lovesick nostagia.

The tender Welsh lovesong is sung in a fine concertish style, but manages to be quite intimate and convincing anyway. Terfel's pronunciation of the (South Wales?) language is perfect, as far as I can detect, and should probably not be taken for granted in this day when English dominates. The harp--mainstay of Welsh folk music--is welcome here as played by the expert fingers of Catrin Finch.

Bizet's well-known Pearl Fishers' duet is operatic territory, and Terfel shines here. Bocelli offers a warm and appealing, though smaller, tenor voice to the combination and the two do a good job overall. Terfel's French is again impeccable.

The lovely setting of the 23rd psalm by Goodall is a welcome bit of church music and the soloist-with-chorus arrangement puts Terfel into a familiar idiom, which he--and the London Voices--make the most of. It's a fine performance and will remind listeners of "The Vicar of Dibley" program on PBS, for which the hymn serves as themesong.

Danny Boy was, I believe, originally in English, though it is one of the best-loved Irish folksongs, so we can't fault Terfel for not singing it in Irish. He sings it well, in spite of its demanding range, and communicates the sad and longing tenderness a father feels for his son about to go off to battle. Terfel's sweet, pianissimo ending is gorgeous, impressive, and most apt.

I don't particularly like the song "Bella Notte," so I won't say much, except that it seems well presented. "Going Home" is performed as a concert piece which owes much more to Dvorak than to the Afro-American spiritual from which it is reportedly derived. Even so, Terfel manages a quite convincing southern American dialect. In the same mood, more or less, we get the spiritual "Swing Low, Sweet Chariot," which Terfel and the London Voices bring off well, though not at all in the way a Black church choir would do it.

I won't take space to describe each of the following tracks, as I think the foregoing gives a pretty good idea of what to expect. The folksongs are not what a purist might want in the way of homespun simplicity--they are prettied up in artistic renditions. The concert pieces are very well done and leave little to be desired.

I will comment on only two more: I was not overly happy with the Brahms lullaby ("Wiegenlied"), because it is a bit too dramatic and artsy in style where it should be utterly simple. Still, we have to give T. credit for his excellent German pronunciation and his fine, if not cribside, style of singing.

In "Lazybones" Terfel gives us a thoroughly charming and delightfully bluesy performance of a Hoagy Carmichael song. Against all odds, it shows a warm understanding and affection for this idiom so alien to the hills and valleys of T's Welsh home. I defy anyone not to be charmed and delighted by this piece.

A strong commendation is in order for Chris Hazell's remarkably fine arrangements of most of these works, and the excellence of the performances by the accompanying groups. This is a musically first-class production!

The liner notes are generous, with song texts and photos of the participants in this recording. It is definitely up to Deutsche Grammophon's high standards!

If you like the pieces presented here and would like to hear them performed beautifully by first-class artists in fine arrangements, you should get this recording. With over 74 minutes of music, you'll be getting your money's worth several times over!

Average customer rating:

GREAT!
A relaxing journey into our Colonial past
Fantastic!
Cold Mountain type music that's great

Colonial America

Manufacturer: Maggie's Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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General | Folk | Styles | Music

Irish Folk | Traditional British & Celtic Folk | Folk | Styles | Music

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Early American Roots
The World Turned Upside Down
Music of the American Revolution: The Birth of Liberty
Celtic Roots
The Spirit of '76 and Ruffles and Flourishes

ASIN: B0000C9Z9X
Release Date: 2003-09-01

Tracks:

Rickett's Hornpipe/ Fishers Hornpipe
Maiden Lane/ Jack O' Lent/ Chestnut/Bonny Broom
Parting Friends/Primrose
Flowers of Edinburgh/East Neuke of Fife
Prelude / La Catherine
Planxty Browne/Planxty Burke
Cutie Clat Her
John Come Kiss me Now
Scots Tune
Carolan's Farewell to Music
A Port
Yeil, yeil
Kedron/Saint's Delight/Promised Land
Gird the Logie
La Belle Cavalier
La Luxillier/La Balanje
Federal Overture
Death & Life

Album Description

Spirited new sounds from across the sea to the shores of the New Land. From the first colonists to the American Revolution and the birth of our republic Hesperus Early Music Ensemble's music reflects a time of new ideas, freedom and vitality. In town and village, parlor and ballroom, from the Appalachians to the great concert halls hear the musical pulse of early American music performed on a wide variety of folk and early music instruments. Includes: lively country-dance tunes, evocative Shape Note Hymns, old time Appalachian fiddle tunes, graceful European parlor music, French cotillions, divisions and improvisations. Introduction -The English Colonies in America were a patchwork-not just of territories whose boundaries became state lines, but of people from different places and classes with widely different values and experiences. This recording presents music from that patchwork; from England, the Colonial homeland; Scotland and Ireland, the homes of the largest groups of immigrants outside England; and France, the ally of the Patriots, and music written in the United States. More recordings by HESPERUS from Maggie's Music are Celtic Roots featuring Scottish fiddler, Bonnie Rideout and Early American Roots. Hesperus Ensemble is THE sought after musical group for period music that is both authentic, and most important fun, lively and spirited. They are frequent performers at the Smithsonian's Institute of American Music and can be heard on the soundtrack or the Paramount film with Johnny Depp entitled Sleepy Hollow! Excerpts from liner notes:2.A Set of English Country Dance Tunes: Maiden Lane, Jack O'Lent, Chestnut, Bonny Broom - The visionary London music publisher John Playford first published his English Dancing Master in 1651. It was reprinted 18 times over the next 77 years and is still popular today. 3. Parting Friends/Primrose - These tunes have come down to us in choral arrangements called shape-note hymns .

Customer Reviews:

GREAT!.......2007-05-20

This cd travels everywhere with me and you can easily imagine a ball at Monticello given by Mr. Jefferson when you hear it.
Try not to daydream too much while driving as i had done several times..lol..it's hard not to with this cd..:)
Perfect for a colonial reenactment or party.

A relaxing journey into our Colonial past.......2006-03-16

I bought this CD to provide me with another dimension to my studies of period events. It truly contains a wealth of music, and takes it place as an important addition to my musical library. Living in the Mt Vernon area, I often travel with the CD playing while visiting historical places, and it provides a wonderful companion to "set the mood" for the myriad locations in the area. The quality of the sound is remarkable, the musicians superb, and the breadth of song selection provides a musical landscape for the period. Highly recommended!!

Fantastic!.......2004-03-04

I first heard the "Colonial America" CD by Hesperus when I visited Monticello recently (the home of Thomas Jefferson) where they were playing the songs in the gift shop. Imagine my dismay to find that only one cassette tape was left of the fabulous music of Hesperus; however, that tape held me spell-bound all the way home, from Virginia to North Carolina.

It was an incredible journey from the past that has stayed with me since, and every day I drive that one hour back and forth to work. This music has changed everything about the trips, and I can't wait for more.

Thanks to Amazon.com I was able to buy all three CD's, including "Early American Roots," "Colonial America" and the incredible "Celtic Roots" with the most beautiful violas imaginable.

Thank you Hesperus! Please play more!

Cold Mountain type music that's great.......2003-11-15

Novels and movies like Cold Mountain, Oh Brother Where Art Thou? and Song Catchers are showing the growing interest in traditional music and this recording hits the mark. It is music from the days of early America--the time when the first colonists come to America. You can hear the fiddle playing tunes still popular in the Appalachian mountains today and also hear shape note music arranged by Hesperus as wonderful instrumentals. The music takes you to a time when folks were making music in their homes-before TV, before the internet! This recording is good for teachers or educational purposes too- with informative liner notes. All the music is played on folk and early music instruments and it's lively and an enjoyable listen.

Average customer rating:

Witty and Charming

Ill-Conceived PDQ Bach Anthology

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

Percussion | Instruments | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

General | Miscellaneous | Styles | Music

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The Wurst of P.D.Q. Bach
1712 Overture & Other Musical Assaults
P.D.Q. Bach: The Short-Tempered Clavier
Music for an Awful Lot of Winds and Percussion
P.D.Q. Bach in Houston - We Have a Problem!

ASIN: B00000FDBK
Release Date: 1998-11-24

Tracks:

This Is Professor Pete
1712 Overture (S. 1712)
Introduction
II. Aria With Chorus: 'Howdy There'
Recitative: 'It Wasn't Long'
III. My Heart
Recitative: 'When Oedipus Heard'
VI. Chorale And Finale
Introduction
Love Me
WTWP Station ID
Oo-La-La Introduction
Oo-La-La: Cookin' French Like The French Cook French - Dana Krueger
Introduction: The Musical Sacrifice (S. 50% Off)
I. Fuga Meshuga - Susan Palma
Introduction
Classical Rap (S. 1-2-3) - Grandmaster Flab
Introduction
I. C Major - Christopher O'Riley
Introduction
II. Simply Grand Minuet
Introduction
Little Bunny Hop Hop Hop
Introduction
Minuet Militaire
Enough Already

Customer Reviews:

Witty and Charming.......2000-08-15

This CD is fun and action packed as much as you could hope for in a CD. He uses quotes from many famous folk and classical songs and implements them into his own compositions with a bit of a twist. For example, in Classical rap, where he raps about being the best rapper in the world with terrific brass interludes between the verses. The orchestra plays a clip from Vivaldi's "Spring" and then he twists it into a record "wicky-wicky" to the same tune. He introduces every peice before it is played in a hilarious manner in which he talks about the peice and something else that was going on in the composers mind as he wrote the peice. Starting at the begining-

This is Professor Pete- Peter Schickele introduces himself as well as P.D.Q.

1712 Overture- A takeoff of the 1812 overture of course, with snatches of some famous folktunes thrown in here and there.

Oedipus Tex- A parady of the Greek Myth Oedipus Rex where he murders his father who is the King. Oedipus Tex lives a life like his brother but in Texas style.

The next tracks are more comedy than exactly music like the WTWP station giving options over the phone about how you would like to hear a certain peice of music. Cooking French... is a woman cooking a French gourmet meal but flubbing up the entire time.

Customer Reviews:

Choral perfectionists........2007-02-19

This is an essential Christmas choral CD. The program itself is fabulous and unique, lacking the tacky "favorites" found on most recordings of this type. Entirely a cappella except for two Rutter arrangements with orchestra. Not a single track is lacking in depth and sincerity.

Polyphony is one phenomenal choir. For its small size, it has truly unmatched sustaining power and control (demonstrated most astonishingly in Lauridsen's O Magnum Mysterium and the end of Howells' A Spotless Rose). The only disappointment on the entire disc is Grieg's gorgeous "Ave Maris Stella" in which, for whatever reason, the men sing with a rather unblended and even wobbly sound while the women are almost entirely straight-tone. "Sing Lullaby" by Howells is a priceless gem worth several times the cost of this CD....a powerfully haunting piece performed here to utter perfection and taste. You will also find what is most assuredly the most perfect and definitive recording of "O Magnum Mysterium" to be found anywhere. The balance and length of line this incredibly gifted ensemble achieves in this too-often-performed piece will leave you breathless.

Sublimely beautiful!.......2005-02-01

Heavenly music, beautifully captured in a location with fantastic acoustics. This is music that needs to be heard on headphones or outstanding surround sound to be really appreciated. Here I am in February still listening to this CD of Xmas music... it's very calming to the soul. I can't recommend this highly enough.

Average customer rating:

Authenric Music with traditional instruments.
Living history

Music of the Civil War
Americus Brass Band , B. Holmes , W.L. Hobbs , Hosea Ripley , Walter Kittridge , D.L. Downing , George Frederick Root , Gioachino Rossini , Anonymous , James P. Carrell , W.K. Batchelder , C.V. Wallace , Henry Russell , Patrick S. Gilmore , Stephen Foster , Daniel Decatur Emmett , and Giacomo Meyerbeer
Manufacturer: Summit(Classical)
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

General | Folk | Styles | Music

General | Jazz | Styles | Music

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The Civil War: Its Music and Its Sounds
Songs of the Civil War
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The Spirit of '76 and Ruffles and Flourishes

ASIN: B0000038IY
Release Date: 1993-02-02

Tracks:

When The Cruel War Is Over - Hoist Up The Flag Quick Step
Americus Quick Step
Fireman's Polka
Tenting On The Old Camp Ground
Dixie's Land Medley Quick Step
Battle Cry Of Freedom - Kingdom Coming Quick Step
Excerpt From William Tell
Sumter Light Guard March
Bonnie Eloise Quick Step
Amazing Grace
Glory Hallelujah Grand March
Scenes That Are Brightest - In Happy Moments Quick Step
Kazoodie Ko Whirl Overture
Woodman, Spare That Tree
Fireman's Quick Step
When Johnny Comes Marching Home
Civil War Folk Song Medley: Oh, Suzanna, Garry Owen, Jordan Am A Hard Road, Bonnie Blue Flag, The Girl I Left Behind Me
Coronation March

Customer Reviews:

Authenric Music with traditional instruments........2000-09-17

For those of you who enjoy the music, as it was sung and played during the Civil War, this recording is a "must!" J.A. McA.

Living history.......1999-07-31

So shoot me. I like bagpipe music and I like fife and drum recordings and I like brass bands. Recently cruisin' the Internet brought me to the website of a company called Summit Records out in Arizona; and my eye was caught by the title (DCD 126) with a group calling itself The Americus Brass Band. I obtained a copy post haste and I want to all to know about it with equal rapidity. There is just short of 55 minutes of Civil War tunes played in a style that is "historically accurate, right down to the high military pitch and the clicking of the rotary valves on the original antique instruments employed" (as the notes tell us). The history of the band is available in those notes, so let me just dwell on the "music that still produces feelings of humor, joy, sadness, and patriotic pride." Well, what music does not produce at least one of those?--and I am not entirely sure there was anything about the Civil War of which we on either side should be particularly proud. But Sing a Song of Suffering seems to be an eternal way of making the best of a rotten situation during war time; and this CD is replete with such memories as "Tenting Tonight," "Amazing Grace," "Woodman, Spare That Tree," and even a little bit of the "William Tell Overture" and a Meyerbeer opera! In short, this is not the expected line up of soldier songs but selections that are "typical of that which might have been played by a group such as the Americus Brass band." I love it. Give it a try, please.

Average customer rating:

French Everyman
parisforever
The Outcast
A simply wonderful album....

Le Meteque
Georges Moustaki
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

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Bobino 70
Greatest Hits
Best of Georges Moustaki
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Master Serie

ASIN: B000006RJ0
Release Date: 1998-04-07

Tracks:

Le Mque
La Mer M'A Donn
Gaspard
Voyage
Le Facteur
Natalia
Ma Solitude
Il Est Trop Tard
La Carte Du Tendre
Le Temps De Vivre
Joseph
Rue Des Fosses Saint-Jacques

Customer Reviews:

French Everyman.......2006-02-18

Imagine a baritone voice akin to Gordon Lightfoot's, singing songs reminiscent of the most personal and poignant of Peter Paul and Mary's repertoire, and you have an idea of this wonderful French singer. Moustaki, a former lover of Edith Piaf, himself became an icon in France, and is still working at age 71. He is little known in the US but well worth discovering for those with a touch of the romantic in them.

parisforever.......2002-12-13

I acquired the original lp in paris when I lived there in the sixties and listened to it often over the next two decades - I loved it ! It only recently occurred to me to search for it as a cd- my lp was damaged in a water heater leak. I have not not heard the cd but I expect the technical aspects to be only better, I know the content is perfect.
Susan in Fort Lauderdale

The Outcast.......2001-10-01

Le meteque of my childhood... when we were more exposed to the Mediterranian music. Moustaki embodies in his music all aspects of the Mediterranian sea, warmth, love, tenderness, and passion.
A wonderful voice. Sadness without being pitiful. The meteque means the outcast a French friend once told me. Moustaki is someone who is an outcast and proud of himself. He has every reason to be.

A simply wonderful album...........1999-10-05

My Mother asked me to buy this for her, to remind her of 1969. After listening to the album, I could hardly bear to part with it....it's compulsive listening, the words are simple yet wonderful, and his voice is a pleasure to hear. I'm starting my collection now!!

New Britain: The Roots of American Folksong

Average customer rating:

Charming, simple & striking. Full of delightful surprises!
Tour de Force of American Musical Roots!
Astonishing

New Britain: The Roots of American Folksong

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

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

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000005E75
Release Date: 1991-06-25

Tracks:

Judicii Signum -- The Great Day
Calenda Maia - Cuando por el oriente
Rossignolet du bois joli - Rossignolet del bos jolin
Das Paris y-at-un'barbiere - Allons-nous faire faire la barbe
Mon pere m'a mariee - Mon pere m'a mariee
Gabriel Nazareth - Une nymphe jolie
C'est en passant par Varennes - Margo labours les vignes
Bransles de village - Il etait une Cendrillon
C'est dans la ville de Bytowm
Il est venu le petit oysillon - An jenem Tag, nach Davids sag - Barbara Allen - Heavenly Dove
Chevy Chase -The Kinges hunt is upp - The English hunt's up
My Love Gave Me A Cherry - I Gave My Love A Cherry
Hey, Ho, Nobody At Home
There Were Three Crows - There Were Three Ravens
Lady Cassilles Lilt - Gipsy Davy
The Jolly Beggar
Billy Boy - Billy Boy
Ricerada premera - Betty Anne
Singing School
Thomas-Town
New Britain (Amazing Grace)
Parting Friends
Hallelujah

Amazon.com

Exploring the connections between early music and what we know as folksong, Joel Cohen and his very adventurous and competent band of musicians not only show us where many familiar tunes come from, they also give us fresh and illuminating renditions of songs from the 10th century to the middle of the 20th century. Besides the recording's obvious educational value, its primary purpose, according to Cohen, is "to give pleasure." That it does, often in amusing ways, as when a song with religious origins is transformed into a ribald descendant. It's also fun to see how widespread some songs are, with different versions common to many countries. Cohen demonstrates how songs that came from Renaissance forms were preserved by common folk long after the "elite" classes abandoned them. The songs are enhanced by excellent instrumental playing and well-conceived arrangements. --David Vernier

Customer Reviews:

Charming, simple & striking. Full of delightful surprises!.......2002-11-29

Many early music groups these days explain cross-cultural musical influences in their program notes, and proceed to play their selections accordingly. Joel Cohen and the Boston Camerata take it the logical step further by actually performing the "root" pieces side by side with the later music that reflects their particular influence. The result is inspired, thought-provoking groupings of related tunes and texts that span not only centuries but continents. The Boston Camerata is primarily a vocal ensemble, with a sound that is spare, pure and direct. Some of their renditions are performed a cappella, while others are accompanied by light, period instrumentation. If you've ever heard this group live in concert, you may recall the surreal effect of sitting in a theater that is pin-drop quiet, waiting for one or two musicians at a time to step forward and break the silence with a clarity and presence that holds the entire audience spellbound from first note to last. The effect of listening to this recording is much the same. My favorites on this release are the groupings of different versions of the same ballad--"Three Ravens", "Gypsy Davy", and "Barbara Allen", for example. The pairing of the Appalacian song "Betty Anne" with its exact harmonic match--a 16th century ricercada for viols by Diego Ortiz--is also quite striking, and I also enjoyed the "shape-note" and "Fa-sol-la" singing-school selections representative of early American music. In the insert, director Joel Cohen explains: "This unorthodox recording, an intentionally provocative mix of early art song and modern folksong, is meant first of all to give pleasure - but it is also a meditation on history, on archetypes, and on the transmission of human culture." The Boston Camerata succeeds admirably here on both counts!

Tour de Force of American Musical Roots!.......2001-01-05

Prepare to go on an amazing, haunting musical tour when you put this disc on your player. Joel Cohen (bless him) has once again assembled a group of musicians and singers who are up to the task of taking themselves, and you the listener, back through the mists of musical time. This disc contains songs that span hundreds of years, many of which actually originate in other lands. Yet, these songs would find their way into the early diverse fabric of colonial America, and go on to inspire much of emerging folk music in this country. Some of these songs are secular, but others have a distinctly religious flavor (as in the first piece on Judgment Day and the "stars falling"). Others are merry, dance-like tunes, and remind one of what might have been performed in medieval courts in Europe. Some are sung in english, others in different languages. The range of musical style and vocal interpretation is incredible. This wonderful diversity reminds the listener that America always had diverse roots, and even in colonial times, we were a nation that drew its strength and inspiration from many cultural sources. I like to listen to this disc during the bleak nights of winter, but it is wonderful music for any occasion. If you really are intrigued by the historical development of American music -- or any music -- then this disc is a "must" for your collection. Also recommended: "The World Turned Upside Down" (Barry Philips), "A Land of Pure Delight" (His Majestie's Clerkes), and "Simple Gifts: Shaker Cbants and Spirituals" (Joel Cohen and Boston Camerata).

Astonishing.......2000-03-25

The album is astonishing. It is rare to find a continuous line of musical thought from the turn of the previous millenium to its end. This album demonstrates the evolution of music over about a thousand year period and includes some very early versions of what we would call modern songs.

Tracks:

O Holy Night - Leontyne Price
Ave Maria - Luciano Pavarotti
In The Bleak Midwinter - Rosemary Joshua/Ian Bostridge
Coventry Carol - The Choir Of King's College, Cambridge/David Willcocks
Away In A Manger - Mark Tinkler
Gabriel's Message - The Choir And Orchestra Of Clare College, Cambridge
Pastoral Sinfonia - Academy Of St Martin In The Fields/Neville Marriner
Il S'en Va Loin De La Terre - Acadamy And Chorus Of St Martin In The Fields/Neville Marriner
Panis Angelicus - Kiri Te Kanawa
Schlafe, Mein Liebster - Marilyn Horne
Wiegenlied - Renata Tabaldi
O Jesu So Meek - Simon Preston
While Shepherds Watched - Stephen Cleobury
Susser Trost, Mein Jesus Kommt - Agnes Giebel
Lute Concerto, RV 93: Largo - Eduardo Fernandez
Alma Redemptoris Mater - Julian Podger
O Magnum Mysterium - John Angelo Messana
Zastupnitse Userdnaya - St Petersburgh Chamber Choir/Nikolai Korniev
Iubi-Te-voi (I Will Love Thee, O Lord) - Angela Gheorghiu/Romanian National CHamber Choir 'Madrigal'/Constantin Marin
Once In Royal David's City - Robin Barter/David Briggs
O Tannenbaum - Vienna Boys Choir/Uwe Christian Harrer
O Little Town Of Bethlehem - The Choir Of King's College, Cambridge/David Willcocks

Tracks:

Stille Nacht - The Bach Choir/David Willcockes
Gloria In Excelsis Deo - Katherine Fuge/Nicola Jenkin/Elinor Carter/Julian Podger
Winter, RV 297: Largo - Alan Loveday
The First Nowell - The Choir Of Kings College, Cambridge/David Willcocks
In Dulci Jubilo - The Bach Choir/David Willcocks
The Three Kings - Gerald Finley
Es Ist Ein Ros Entsprungen - Monteverdi Choir
Still, Still, Still - Ian Bostridge
The Crown Of Roses - The Choir Of Clare College, Cambridge/John Rutter
Christmas Concerto, Op.6 No.8: Largo Pastorale - Academy Of Saint Martin In The Fields/Neville Marriner
The Lamb - Monteverdi Choir/John Eliot Gardiner
Balulalow - Anthony Way/Lucy Wakeford/St Paul's Cathedral Choir/John Scott
Ave Maria - Leontyne Price
Mille Cherubini In Coro - Luciano Pavarotti
Vesperae Solennes De Confessore, K.339: Laudate Dominum - Kiri Te Kanawa
The Infant King - The Choir Of King's College, Cambridge/David Willcocks
Lullaby My Jesus - The Choir Of Winchester Cathedral/David Hill
What Child Is This? - Anthony Way/Tom Finucane
The Tales Of Hoffmann: Barcarolle - L'Orchestra De La Suisse Romande/Richard Bonynge
See Amid The Winter's Snow - The Choir Of King's College, Cambridge/David Willcocks
The Blessed Son Of God - The Choir Of Winchester Cathedral/David Hill
It Came Upon The Midnight Clear - Leontyne Price
White Christmas - Kiri Te Kanawa/London Voices

Customer Reviews:

Christmas Adagios.......2007-03-03

This is the BEST Christmas collection that I have ever heard. I would like
to purchase 15 more to give as gifts this year; however, it appears that
Decca is out of stock or no longer releasing it. HELP!!

christmas adagios.......2007-01-14

this was one of the best assortment of classical holiday songs that i have ever heard. it contains a marvelous array of the best composers and performers that the world has to offer. if you are a fan of classical music, i think this cd will be a positive addition to your music collection

Nice Background for the Holidays.......2007-01-11

Beautiful Adagios and a rich selection for the price. Audio travels to Vienna, London, Cambridge etc

One of my very top 5 favorite holiday albums!.......2005-11-19

What a delightful surprise this 2 disc album was and I'm not a big fan of Christmas music. I loved all the selections and felt they were well performed. This is a true "must have" for any Christmas collection. Superior to many other compliations on the market. This one is a keeper! It is the one album I'll pick first to listen to after Thanksgiving.

Wonderful POCOCAT?.......2005-07-16

Great CD. The reviewer who calls him/herself POCOCAT says he/she is an opera singer. Wonder how much work an uninformed singer gets?
A "fast spinning" vibrato,as you describe Ms. Price, is not the same as a wide vibrato. The former is a speed issue, the latter a width issue. Therefore, 4 variables exist: fast, slow, wide, slim. Thus, 4 types of voice exist: fast/wide, fast/slim, slow/wide, and slow/slim. Most often a singer leans toward fast/slim or slow/wide, in varying degrees. A matter of taste, yes, but learn more about the voice before you expound.

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