Winter into Spring

Track Listings

1. January Stars

2. February Sea

3. Ocean Waves (O Mar)

4. Reflection

5. Rain

6. Blossom/Meadow

7. Venice Dreamer, Pt. 1: Introduction

8. Venice Dreamer, Pt. 2

Editorial Reviews
Amazon.com essential recording
More like poems for piano than traditional, structured songs, the music of George Winston plays like a lyrical soundtrack to the natural world's rhythms, and nowhere is this more brilliantly enacted than on his third album, Winter into Spring. There are wondrous, beautiful melodies here, but what's amazing is Winston's intense inspiration that spills from his spirit and flows straight to the keys. He uses simple techniques that would hardly impress the most intellectual of music critics but can bring any listener with an artist's heart to tears. Tense and full of motion, his Steinway urgently rolls through songs like aspen leaves fluttering in the wind. From the first sparse, tinkling notes of "January Stars," Winston pulls you into his solitary dreamscape and doesn't let you go until the CD's end. During "January Stars" it's hard not to imagine standing in crunchy snow while staring up at stars glittering in a black, expansive sky. Another standout, the 10-minute "Rain," may be the most archetypal of Winston pieces. Beginning with serene, deliberate melodies, the piece jumps into a chiming complexity that grows until the listener is drenched in streams of urgent, rushing-watery notes. It's fitting Winston named this album after a transition because the music couldn't take you to lovelier places. A masterpiece. --Karen Karleski

Winter into Spring,George Winston,Windham Hill Records,Adult Alternative,Contemporary Instrumental,Neo-Classical,New Age / Meditation,Pop,Solo Instrumental

Winter into Spring

Tracks:

January Stars
February Sea
Ocean Waves (O Mar)
Reflection
Rain
Blossom/Meadow
The Venice Dreamer: Part One-Introduction
The Venice Dreamer: Part Two
(Love Echoes In The) Pine Hills (bonus track)

Amazon.com essential recording

More like poems for piano than traditional, structured songs, the music of George Winston plays like a lyrical soundtrack to the natural world's rhythms, and nowhere is this more brilliantly enacted than on his third album, Winter into Spring. There are wondrous, beautiful melodies here, but what's amazing is Winston's intense inspiration that spills from his spirit and flows straight to the keys. He uses simple techniques that would hardly impress the most intellectual of music critics but can bring any listener with an artist's heart to tears. Tense and full of motion, his Steinway urgently rolls through songs like aspen leaves fluttering in the wind. From the first sparse, tinkling notes of "January Stars," Winston pulls you into his solitary dreamscape and doesn't let you go until the CD's end. During "January Stars" it's hard not to imagine standing in crunchy snow while staring up at stars glittering in a black, expansive sky. Another standout, the 10-minute "Rain," may be the most archetypal of Winston pieces. Beginning with serene, deliberate melodies, the piece jumps into a chiming complexity that grows until the listener is drenched in streams of urgent, rushing-watery notes. It's fitting Winston named this album after a transition because the music couldn't take you to lovelier places. A masterpiece. --Karen Karleski

Customer Reviews:

Winston album "Winter into Spring".......2007-07-22

It's a replacement for a cassette tape version. The recording is very clear and lifelike.

Another 5 star outing from the Excellent Solo Pianist.......2007-06-10

Winter Into Spring, by George Winston, is another fine offering from this gifted pianist. IF you are new to Mr. Winston, welcome, you are in for a treat. If Mr. Winston is old hat to yopu, enjoy the opportunity to own these once fantastic albums of now even greater CDs. Simply another 5 star CD from Mr. Winston. This is a CD to put on in the background and play all day.

Winter into Spring.......2007-03-09

I love Gerorge Winston. This is not my all-time favorite album of his, but it's very good. (Just my personal taste) I think December is one of his best.

Average customer rating:

captured moods
George Wiston-An American Treasure
Another classic George Winston album
Perfection
This is great stuff!!!

Winter into Spring
George Winston
Manufacturer: Windham Hill Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Autumn
Summer
December
Forest
December, Piano Solos: 20th Anniversary Edition

ASIN: B000000NFA
Release Date: 1990-10-25

Tracks:

January Stars
February Seas
Ocean Waves (O Mar)
Reflection
Rain
Blossom/Meadow
The Venice Dreamer: Part One - Introduction
The Venice Dreamer: Part Two

Amazon.com essential recording

Customer Reviews:

captured moods.......2002-04-25

He has captured the moods of winter into spring I think(for around the area where I live). The excitement of January when winter is new. The settling in of February and even the log cabinish mood of march is captured in the winter months. The awakening of spring with the rain. The rain brings growth which leads into the breezy meadow and the slowing of the briskness to a more steady pace. If I want to chill out I give a listen to 'Winter Into Spring'. I own the cassette tape of this album, and I'm glad I bought it.

George Wiston-An American Treasure.......2001-06-09

Though Winston is not wolrd famous, he has a rare quality that many composers lack today. He combines both lyricism and indivisuality in his compositions. As you listen to the CD, you can feel as if you were at sea during " February Sea." Winston is by far the most underrated composer in the country. People know about Gershwin and other giants like him, but they have no idea who the heck George Winston is. His music shows his passion while painting a vivid image. I have not heard anyone's music with as much lyricism and passion since the Romantic Era of Chopin.

Another classic George Winston album.......2000-08-05

What elevates George Winston's music above the level of your average new age artist and makes it more than just background noise, is the excellent ability he has to create a mood throughout an album. "Winter Into Spring" ranks with other great Winston albums like "Autumn," "December" and "Summer" in taking the listener away into an aural landscape of distinctive beauty. That he is able to do this with nothing other than his piano is simply amazing. "Winter Into Spring" is another triumph for a great artist.

Perfection.......2000-05-17

I first purchased this album in 1985 and I still play it regularly. "Winter Into Spring" and Winston's "Autumn" are masterful in their simplicity. His piano solos demonstrate clarity of thought and purpose, precision, and evidence his deeper musical knowledge and skill. Few artists no when to stop. Winston's brilliance is found both in the notes he plays and the notes he doesn't. And this work is strong start to finish with each piece tying back to another. Given the excellent recording quality, "Winter Into Spring" and her sister "Autumn" are simply perfect.

This is great stuff!!!.......1999-02-24

I live on the coast of Oregon, where winter storms are often times brutal, and when I hear "Febuary Seas" I can see the ocean and feel its savageness. I love all the music on this album, many speak to me and I can see them. I love this music!

Average customer rating:

A Treasury of English Song

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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English Song
Favorite English Songs
Songs by Roger Quilter
Songs My Father Taught Me
Great Operatic Arias

ASIN: B0001O2OBI
Release Date: 2004-05-11

Children Of A Lesser God: Original Motion Picture Soundtrack

Average customer rating:

Ba-Boom-A-Rang-Rang-Rang
Beautiful!
The music of pure rapture
Beautiful, Stirring and a Wonderful Infant Relaxer
A Great Drama Score

Children Of A Lesser God: Original Motion Picture Soundtrack

Manufacturer: Gnp Crescendo
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Children of a Lesser God
Out Of Africa: Music From The Motion Picture Soundtrack

ASIN: B000001P00
Release Date: 1990-10-25

Tracks:

Main Title
Silence And Sound
Sarah Sleeping
Rain-Pool
Underwater Love
On The Ferry
James & Sarah
Goodnight
Boomerang
Forgiveness/Winter Into Spring
Bach's Double Concerto In D Minor For Violins Second Movement-'Largo Ma Non Tanto'
Searching For Sarah
Love On The Couch
James Alone On The Pier
Joined
End Title

Customer Reviews:

Ba-Boom-A-Rang-Rang-Rang.......2007-02-24

Boomerang is one of my favorite songs off this album and I really love this movie as well. I rate DVD and album 5 stars!!!

Beautiful!.......2001-08-13

This soundtrack has always been very special to me. It was given to me as a gift years ago when the movie was released. Whenever, I need to escape the world and find a special place, I play this music. So smooth and gentle, it feels as if you are actually floating on the sound.

The music of pure rapture.......2000-04-26

One of the most stirring soundtracks of any film I can recall, much of this music can take the listener to a place so calm and thoughtful it seems as if time has ceased to exist. There's little conventional "melody", but instead sweeping washes of sound and chords which convey ambiguous, tender and searching emotional states. Sometimes pensive, sometimes mystical, sometimes passionate, it is truthful, complex music, whether intimate or grand. I like to play it while driving in the mountains. It has become indispensible to me!

Beautiful, Stirring and a Wonderful Infant Relaxer.......1999-07-16

When I heard this soundtrack during the movie, I was swept away with it's beauty, expansiveness and, oddly, its intimacy. It soothed me like no other instrumental body of work I had heard at the time--or since. When we had our first son in 1990, I would bathe him at night, bring him into the living room, put this on and put him on my chest. Within 5 minutes, he'd be asleep. It worked equally well for our second son. Beyond infancy, it was a calming resource on more than our fair share of family car trips. You and your family can't miss with this one.

A Great Drama Score.......1999-01-09

Michael Convertino definitely nailed it on the head with the score for the 1986 film adaptation of CHILDREN OF A LESSER GOD. The score is gentle and uplifting, yet examines the underpinnings of humanity. "Rain Pool" and "Underwater Love" are cues that truly stand out in an album that conspires to bring the listener to the brink of tears. A good listen, if you're in the right frame of mind, and a worthy addition to any score collection.

A.E. Housman: A Shropshire Lad, Complete in verse and song

Average customer rating:

A.E. Housman: A Shropshire Lad, Complete in verse and song
Alan Bates , Anthony Rolfe Johnson , and Graham Johnson
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005S85Q
Release Date: 2001-12-11

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Rhinegold

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
The Rhinegold (Part 1): Wagner: The Rhinegold
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

Ah! Love, But A Day
Average customer rating:

Really Great

music fan in southern Virginia

North Hollywood Fan- Jay Pierson is Wonderful

great CD, but ms toppin was NOT on TOP

Terrific!

Ah! Love, But A Day

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

All Works by Beach | Beach, Amy Marcy Cheney | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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Women of Note ~ Beach, Boulanger, Clarke, Gubaidulina, Larsen, Mendelssohn, Monk, Musgrave, Ran, Zwilich

You Can Tell the World: Songs by African-American Women Composers

ASIN: B00004L8IB
Release Date: 2000-02-22

Tracks:

American Lullaby
O'Jim
Into The Night
Three Cowboy Songs: Bucking Bronco
Three Cowboy Songs: Lift Me Into Heaven Slowly
Three Cowboy Songs: Billy The Kid
In The Twilight
Irish Love Song
Though Love Be A Day: Maggie And Millie And Molly And May
Though Love Be A Day: Still
Songs Of The Season: Young Love In Spring
Songs Of The Season: Poeme D'Automne
Songs Of The Season: Winter Moon
Songs Of The Season: Summer Storm
Ah! Love, But A Day
To Be Baptised
Set Down
I Want To Die While You Love Me
Come Down Angels
Sympathy
The Glory Of The Day Was In Her Face
Hold Fast To Dreams
Guide My Feet
The Pasture
Little David Play On Your HArp
At The Foot Of Yon Mountain
Canaan
Ride Up In The Chariot

Customer Reviews:

Really Great.......2004-09-03

One thing that has yet to be mentioned is that these are all art songs written by women composers. I am a big fan of both of the performers. I really like the first three pieces and Still by Gwenyth Walker. If you are a begginer or an old timer when it comes to art songs, this is a must!
The title is accually Ah love but a day, not American Art Songs

music fan in southern Virginia.......2003-08-15

I LOVE this CD and have played it constantly since purchasing it. My favorite selection is Guide My Feet with Louise Toppin's amazing high voice. The purity and sheer height of her instrument are incredible. I have also really enjoyed hearing the rich baritone of Jay Pierson and excellent accompanying of John O'Brien. The repertoire is refreshing and musically presented by all three artists. I HIGHLY recommend this CD to all.

North Hollywood Fan- Jay Pierson is Wonderful.......2002-09-14

This CD is lovely. Jay Pierson has a wonderful voice and the interpretation of his selections is stellar. I really love "Into the Night" and can listen to it over and over. I also think it is great that the female composers get their long overdue DO! I hope they somehow know that their music is not only being heard, but being performed beautifully. Toppin does a great job also, but I really love the baritone sound. Truly a beautiful CD!!! Thank you to both performers - but especially Pierson!

great CD, but ms toppin was NOT on TOP.......2002-04-08

the fabulous baritone CLEARLY shared the spotlight with toppin. the repetoire throughout was quite distinguished and beautiful between both singers, but i could have done without toppin being listed as the FEATURED singer on this CD. this CD has one of the most elegant, musical, baritones that ive ever heard on it. the best song sung by toppin was "take me to the water" - it was quite emotional, per toppin's pure tone and child-like vocal character - perfect match. "into the night" is glorious, and "ah love but a day" is gorgeous. a beautiful beautiful CD .

Terrific!.......2000-06-06

Louise Toppin sings some beautiful, though neglected repertoire. She is ably assisted by Jay Pierson and John O'Brien, but this is clearly her project. Definitely recommended!

Average customer rating:

Love Ballards: Winter into Spring
Various Artists
Manufacturer: March Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004TJXH
Release Date: 2000-07-04

Tracks:

Stars Collide - Cinnamon
Sexy Dreams - The Waves
E.U.R.O.P.A. - One Star
Slide on By - Bike
Spring
Make Me Your Insep'rable
Sunberry Gate - Kleenex Girl Wonder
Are You Aaware? - The California Oranges
Golden Anniversary - Holiday
Our Song - Figurine
Stardrossed Lovers - The Cherry Orchard
Astronauts on Love - Ciao Bella

Average customer rating:

Depth of Holy Week Captured
a voice teacher and early music fan

A Shropshire Lad

Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Customer Reviews:

Depth of Holy Week Captured.......2007-04-16

I bought this for the voices of Michael Chance and James Bowman, as well as for Robert King. Once again these two famous counter-tenors are teamed up. Both with different voices but the perfect blend. Tracks 3 and 4 are solos, and the rest duets, with the singers complimenting each other magnificently. If you enjoy the mysterious and lengthy sound of sacred music, focusing specifically on the voice, you will love this recording.

a voice teacher and early music fan.......2005-12-24

The sacred music of Couperin has an intensity and power rarely found in baroque church music. It was mostly scored for one, two or 3 voices and continuo; this CD is an excellent example of his work. The name "tenebrae" probably refers to the darkness that gradually spread during the service as candles were extinguished one by one until Matins ended in darkness. The first 2 lessons are for solo voice;the third is a duet. The disc begins with a Motet which was written in honor of the marytr St. Bartholomew during which the 2 voices imitate and chase each other in 3rds. The selection "Venite Exultemus Domino" is largely an exultant text with suspensions of great beauty and ending in a surprisingly low tessitura. To my mind the "Magnificat" with its variety of textual moods and rich harmony is the real "showcase" on this recording! And with the 2 great countertenor voices of Chance and Bowman we have the best possible rendition. They are a great team vocally for they blend well and indeed are very similar in their singing style, although I think Chance as the edge in overall performance. A great recording in every way.