A Life of Tango [Hybrid SACD]

1. Taquito Militar

2. Chachila

3. Mi Vieja Viola

4. Decarismo

5. Malevaje

6. Sensiblero

7. Ejes de Mi Carreta

8. Danzarin

9. Gallo Ciego

10. Volvió Una Noche

11. Once

12. Motivo de Vals Vals

13. Chocto

14. Mano a Mano

15. Saludos

16. Pedacito de Cielo Vals

17. Mal de Amores

18. Recuerdo

19. Don Juan

20. Nocturna

Tracks:

Ouvertd Moritat Von Mackie Messer
Seererjenny
Kanonensong [Cannon Song]
Liebeslied
Barbara Song
Erstes Dreigroschen-Finale
Abschied
Zuherbassatle
Ballade Von Angenehmen Leben
Eifersuchtsduett - Lotte Lenya, Theo Mackeben & his Jazz Orchestra
Zweites Dreigroschen-Finale - Lotte Lenya, Theo Mackeben & his Jazz Orchestra
Lied Von Der Unzullichkeit des Menschlichen Strebens
Moritat und Schlusschoral - Marlene Dietrich
Wie Man Sich Bettet - Curt Bois
Alabama Song - Marlene Dietrich
Nachtgespenst
Peter - Lotte Lenya, Theo Mackeben & his Jazz Orchestra
Guck Doch Nicht Immer Nach Dem Tangogeiger Hin
Jonny
Vom Seemann Kuttel Daddeldu
Chant des Canons
Chant d'Amour
Tangoballade
Ballade de la Vie Agrle
Die Seererjenny
Barbara Song
Die Moritat Von Mackie-Messer
Lied Von Der Unzullichkeit des Menschlichen Strebens
Alabama Song [Alternate Take]

Amazon.com

Performed in 1930 by the cast and orchestra of the 1928 Berlin premiere (except for Willi Trenk-Trebitsch, the Mackie of the 1929 Prague premiere), this extraordinary recording must be the last word in genuine, unvarnished "authenticity." Even the remastered sound is amazingly good and life-like. The half-spoken, half-sung delivery captures the biting sarcasm of Brecht's text as well as the abrasive bitterness and sinuous lyricism of Weill's melodies, underlined by the punchy, swinging rhythms and indigenously jazzy sound of the orchestra. The result is an uncanny evocation of a historical period and its atmosphere. One can smell the smoky nightclub air, see the garish colors, and feel the unbridled sensuousness. This "abridged" version offers 13 familiar numbers, with most strophic repeats omitted, but includes alternate versions of several songs--four in French, two sung by Brecht himself. There are also two songs from Mahagonny, a long "scene" by Wilhelm Grosz, and two songs each by Rudolf Nelson and Friedrich Hollaender (who wrote the music for the film "The Blue Angel), two of them sung by Marlene Dietrich with her inimitable lascivious sensuality. --Edith Eisler

Customer Reviews:

Wonderful original recording, plenty extras. .......2006-09-11

In quick summary:
- If you're at all familiar with the Dreigroschenoper and all its incarnations, be sure to buy this album. It's the closest you could get to an 'original'.
- If you're completely new to the Threepenny story, I would recommend starting with the 1999 Nina Hagen concert version instead. It's got all the songs left out here, better recording quality, and a more modern approach to the music.

This is not a complete collection of original cast Dreigroschen songs. Rather, it's a selection of the best tracks from the play, often censored and cut short (in all the usual ways), and filled up with seemingly random extras in the genre.

The performers are all quite brilliant, and it's refreshing to hear a 3P without all the screaming and biting from recent versions. Though the songs are by no means slow, they're much more relaxed, more saccharine I would say, than what they've later evolved into. I love both type interpretations, but I often prefer this one.

One very nice bonus is the inclusion of a handful Threepenny songs in French. Otherwise pretty hard to come by. Also, the famous final lines of the movie version (Moritat reprise) are present, which I've only seen in one other recording (the 1981, also led by Miss Lotte Lenya). All in all, an essential CD for Brecht/Weill fans.

This one is really fine. .......2006-03-03

I've been a three-penny freak ever since I was a hanger-on at a Stanford production 40 years ago directed by a Brecht associate from Berlin. It's wonderful to get the authentic original cast records. I really like the added Berlin Chansons, too. "Don't Goggle at that Tango Dancer, Keep Your Eyes on the Guy You Came with!" Or Marlene Dietrich, with "Jonny, When it's Your Birthday, I'll Be Your Guest for a Night."

Waking Life - Original Motion Picture Soundtrack

Average customer rating:

Vivacious
dreamy but refreshing
Quirky, Fun, Fantastic
Fascinating!!!
Fabulous entertainment in itself

Waking Life - Original Motion Picture Soundtrack

Manufacturer: Tvt
ProductGroup: Music
Binding: Audio CD

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Waking Life
Possessed
The Rough Guide to Tango Nuevo
Astor Piazzolla - The Soul Of Tango: Greatest Hits
Tango: Zero Hour

ASIN: B00005RDDB
Release Date: 2001-10-23

Tracks:

Ballade 4 part 1
Mi Otra Mitad de Naranja
Pelo Negro
La Cosa Pequena
Lastima Grande
Nocturne in E-flat Opus 9 #2
Ballade 3
El Cholulo
Nocturna
Super Sport
Ballade 4 part 2

Customer Reviews:

Vivacious.......2006-12-20

I do think that possessing a fondness for the film helps (of which so many here have expressed), but by no means is it necessary. If anything, I find the seldom, more reflective, somber moments ("Mi Otra Mitad de Naranja") to capture the film's oft-haunting imagery to beautiful effect. The rest of the score, in my case, doesn't work as an album because of what it guts out of the film; it works because it's fabulous music.

Very distinct, too; I've never heard a film's score sound quite like 'Waking Life'. Really, that's where most my admiration comes from; it's not only an enthusiastically charming score, but it's uncommonly unique. That always earns points, whether or not the music is appealing; 'Waking Life' is effortlessly both.

dreamy but refreshing.......2006-03-09

I bought this because I loved the movie, both visually and philosophically. The soundtrack goes very well with the movie and is responsible for much of the surreal feel of it. But even listened to independently it's great.
The recording is kind of raw, there is little processing, and it may even be considered careless, but that's part of its charm.
The sound itself is pretty original (to me anyway). It's strings (one violin, one cello and one double bass, I think), piano and accordeon. The result is refreshing. That's probably the best word to describe this: refreshing, and of course, dreamy.

Quirky, Fun, Fantastic.......2004-01-14

I know nothing about tango; I got this soundtrack because I like the movie so much, and the music is such an important part of the movie's wandering, convoluted and dreamy feeling. I don't think I'll probably buy other Glover Gill albums, but this one is wonderful -- I often put it on while I'm working; it's great background music but it somehow manages to stay in the front of your mind.

Some reviewers have lamented the inclusion of Chopin's Nocturne on the album, but this CD was my first experience of the piece, and I love it. It has a totally different flavor from the rest of the tracks, so it provides a nice break.

The only bad thing about this album is that it gets a little repetitive. That's part of the nature of the music, which makes sense in the movie, but because many of the tracks have these climbing melodies that repeat and spiral ever upward, I find that after one listen to the whole thing I've had enough, and I'll stay away from the CD for a while. But that doesn't diminish its value in my opinion -- certainly one of the more interesting soundtracks I own, and I recommend it especially to people who've seen the movie, but also to the more adventurous of those who haven't.

Fascinating!!!.......2003-09-12

Recently, an Austin friend turned me on to a Glover Gill CD called Solo Tango. I liked it a lot and so looked him up on this site to see what else of his I could find. After reading the reviews of this one, I sort of half-heartedly ordered it.
Mistake!!! This is a fascinating piece of work. No, its not warmed-over Piazzolla as some have insinuated. The mere fact that it displays the characteristics of "new tango" doesn't automatically mean that the music will be a Piazzolla clone.
I've listened to and enjoyed lots of tango in my life, from the Guardia Vieja all the way through El Troesma to the present, and I can hear plainly that Glover Gill knows tango. The brooding melancholy jumps out and if you close your eyes, you can imagine being in the arrabal. Guess I'll have to see the movie, too!
Those familiar with tango of the 20s-40s will recognize snippets of some of the most famous tangos expertly worked into Gill's compositions. This is a great CD to kick back to and just enjoy. I've had it on all day soaking up its many pleasures. If I had to chose a favorite piece, Nocturna and Super Sport would vie for that honor.
If you have an open mind about tango and the possibilities of the genre, you should find as much to enjoy here as I do. I look ahead with eager anticipation to the next offering of Glover Gill and his Tosca Tango Orchestra.

Fabulous entertainment in itself.......2003-01-01

This soundtrack is actually quite incredible, an excellent achievement despite what some others say. The music has a distinctive quality that makes it entertainment all on its own; it hardly needs a film to go along with it (although the film was fantastic).

Tracks:

Adagio In Sol Minore
Duet From Lakme
The Swan
Summertime
Nocturne in E Flat Major
The Flight Of The Bumblebee
Libertango
Prelude No. 4 in B Flat Minor
Prelude No. 5 in B Minor
Prayer 'From Jewish Life' No. 1
Pavane
Vocalise
Song Without Words
Air
Ave Maria

Customer Reviews:

Gorgeous!!.......2005-04-01

This was a pleasure to listen to. The music chosen for the recording brings out the soulful cello sound played so wonderfully by Sara Sant'Ambrogio, and the piano part played so skillfully by Anyssa Neumann rounds it all out. It puts you in another dreamy world!

Check This One Out!!!.......2004-10-24

"Dreaming" is the latest CD from Sara Sant' Ambrogio, featuring up and coming rising star Anyssa Neumann on the piano. Please start the tour soon and let me know when and where to come!!!

Congratulations to everyone that played a play on this CD. The time and effort is well worth it shows. Continued good look in everything that each and every one of you chooses to do.

First Loves.......2004-09-25

This newly released CD is a winner! As Grammy-winning cellist Sara Sant'Ambrogio writes, she selected those pieces that first made her fall in love with the voice of the cello, and she plays them with tenderness, passion, mastery, and wistfulness, stirring the listeners' imagination and taking us back to a simpler time. In addition to the old favorites, such as Albinoni's "Adagio" and Saint-Saens "The Swan," she bridges the centuries with Gershwin's Summertime and two contemporary compositions by Paul Cantelon, melding the textures into a cohesive yet varied tapestry of music. The piano accompaniment, played skillfully by the rising pianist Anyssa Neumann, gently sustains the rich strains of the cello, providing a perfect balance of voices. Listen to this recording with your eyes closed and let your memory and the exquisite artistry of these two young musicians take you back to your first loves.

Kurt Weill: Life, Love, & Laughter--Dance Arrangements, 1927-50

Average customer rating:

SAIL ON, KURT!
Not at All Vile Weill
ELEVATOR MUSIC

Kurt Weill: Life, Love, & Laughter--Dance Arrangements, 1927-50
H.K. Gruber , and Palast Orchestra
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Ein Freund ein Guter Freu
Krokodile und Andere Hausfreunde
Wochenend und Sonnenschein
Superhits Präsentiert Vom Palast Orchester
Superhits V.2

ASIN: B000055YBR
Release Date: 2001-02-12

Tracks:

Mile After Mile
Bilbao Song
Stay Well
Life, Love And Laughter
My Ship
Green-up Time
The Little Gray House
Blues Potpourri
September Song
All At Once
Le Roi d'Aquitaine (Waltz)
Foxtrot Potporri
Alabama Song
Lied Der Jenny
Speak Low
It Never Was You
What Good Would the Moon Be
Tango Ballade
Kanonen-Song

Amazon.com

Here's a disc of 19 familiar and unfamiliar Kurt Weill songs arranged for dance band and played by an expert group of specialists in Roaring Twenties band music. They're led by singer-conductor-composer H.K. Gruber, whose previous recordings include Weill's Die Dreigroschenoper. The result is a start-to-finish delight. From the first notes, you're beamed back in time to one of those sleek transatlantic passenger liners, sitting in an art deco ballroom watching elegant couples in tuxedos and ball-gowns swirl by while the band plays hits from Weill's German and Broadway triumphs. Sure, the venom is leached from the originals, but who needs agitprop when you're on a dance floor? The arrangements are by a variety of hands, hired by Weill's European and American publishers with his approval to get more mileage from his musical theater works. They're delightfully square rhythmically and formulaic in transferring Weill's music to conventional dance bands, but the music still holds up and is fun to hear in its new clothes. A special treat is the eight tracks with Max Raabe, whose light tenor and falsetto singing preserve the spirit of Weill's songs, as well as perfectly mimic the boy band singers of times gone by. --Dan Davis

Customer Reviews:

SAIL ON, KURT!.......2006-04-23

I wouldn't take offence here oh, Weill purists! These reconstructions are charming and harmonically reverent to their originals, more than could be said for many versions of the Weill Songbook through the decades, including Lou Reed's friendly `adaptation' of the September Song's chord progression and melodic line!

Shoenberg and Webern expressed their disdain of Weill's music; curiously, Arnold had also disclosed a secret wish of having his own audiences walk back home "whistling his tunes", oh, don't ask why... You can certainly whistle, hum and sway your partner now, as the transatlantic's bouncy dancehall sails on just as Kurt, Lotte and the lot of them did when escaping the lethal hounds of early 30s Berlin.... the-next-little-dollar bound.

Not at All Vile Weill.......2001-08-13

The ever versatile HK Gruber has done it again digging up these gorgeous dance arrangements for Weill's music--proving, if anything, Weill's versatility. Anyone familiar with the Capriccio historical Weill recordings will be aware of the long tradition of dance bands taking Weill's music as the lead for dance music or pop music incarnations (all the way up through the more obvious appropriations familiar to Americans: Mack the Knife and September Song). Hardly MUZAK arrangements (listen to the delicate violin in track 17's "What Good Would the Moon Be" to hear what I mean), this generous helping of 19 songs offers a chance to see Weill through a delightfully different but entirely compatible lens. Max Raabe provides the ideal vocal compliment on 8 of the tracks, his tenor floating effortlessly into his head voice suggesting a "period" sound reminiscent of Bing Crosby. The import title for this disc is "Charming Weill," and that modest adjective expresses the least of its virtues.

ELEVATOR MUSIC.......2001-05-23

This is a very strange CD: why would anyone want to take the quirky rhythms and melodies of the great Kurt Weill and "tame" them into dance arrangements? Certainly one has listened to (& even perhaps admired) dance arrangements of composers from Victor Herbert to Cole Porter to Jerry Herman, but these are all, if you will, main stream composers-- men whose music sounds good in original Broadway or Hollywood arrangements and just as good (or almost as good) as played by a dance band...think "Begin The Beguine" as done by Fred Astaire on film or "Begin The Beguine" done by Jo Stafford with the Paul Weston Orchestra.

But Weill was an innovator: a man who can still be listened to experiencing the thrill of something fresh and new. One immediately thinks of his collaborations with Bertolt Brecht in Germany: "Threepenny Opera" and "The Rise & Fall Of The City of Mahagonny" or "The Seven Deadly Sins", etc. his American opera, "Street Scene" with Langston Hughes or his American musical plays: "One Touch of Venus" with Ogden Nash or "Love Life" with Alan Jay Lerner, etc. The songs on this CD all deserve great recordings from the "Alabama Song" to "September Song" but they turn into a kind of flattened elevator music instead of having fresh interpretations or even more traditional ones. What happens is that the longing in "What Good Would the Moon Be" and the romance of "Speak Low" and the raucousness of "Bilbao Song" are all much too similar and much too easy.

Tracks:

Die Dreigroschenoper: Ov - Lewis Ruth Band/Theo Mackeben
Die Dreigroschenoper: Moritat (Mack, The Knife) - Kurt Gerron
Die Dreigroschenoper: Ballad Of The Agreeable Life - Willy Trenk-Trebitsch
Die Dreigroschenoper: Love Duet - Erika Helmke/Willy Trenk-Trebitsch
Die Dreigroschenoper: Cannon Song - Kurt Gerron/Willy Trenk-Trebitsch
Die Dreigroschenoper: Pirate Jenny - Lotte Lenya
Die Dreigroschenoper: Act I Finale - Lotte Lenya/Erika Helmke/Erich Ponto
Die Dreigroschenoper: Barbara Song - Lotte Lenya
Die Dreigroschenoper: Jealousy Song - Lotte Lenya/Erika Helmke
Die Dreigroschenoper: Farewell - Erika Helmke/Willy Trenk-Trebitsch
Die Dreigroschenoper: Act II Finale - Willy Trenk-Trebitsch
Die Dreigroschenoper: Procurer's Ballad - Lotte Lenya/Willy Trenk-Trebitsch
Die Dreigroschenoper: Song Of The Inadequacy Of Life - Erich Ponto
Die Dreigroschenoper: Moritat (Reprise) - Lotte Lenya
Die Dreigroschenoper: Final Chor - 1930 German Cast
Die Dreigroschenoper: Moritat - Bertolt Brecht
Die Dreigroschenoper: Song Of The Inadequacy Of Life - Bertolt Brecht
Kleine Dreigroschenmusik (Little Threepenny Ste): Moritat - Berlin State Opr Orch/Otto Klemperer
Kleine Dreigroschenmusik (Little Threepenny Ste): Ballade - Berlin State Opr Orch/Otto Klemperer
Kleine Dreigroschenmusik (Little Threepenny Ste): Tango-Ballade - Berlin State Opr Orch/Otto Klemperer
Kleine Dreigroschenmusik (Little Threepenny Ste): Cannon Song - Berlin State Opr Orch/Otto Klemperer
Die Dreigroschenoper: Moritat - Mme. Damia
Mahagonny: Alabama Song - Lotte Lenya/The Three Admirals
Mahagonny: As You Make Your Bed - Lotte Lenya
Mahagonny: Medley - Lotte Lenya/Berlin Cast Of The Kurfurstendamm Theatre, Berlin
Happy End: Bilbao Song - Lotte Lenya

Average customer rating:

The Greatest Songs Ever: Argentina
Various Artists
Manufacturer: Time Life Records
ProductGroup: Music
Binding: Audio CD

Argentina | South & Central America | International | Styles | Music

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Tango | Latin Music | Styles | Music
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The Brazil: The Greatest Songs Ever
The Greatest Songs Ever: Spain
The Greatest Songs Ever: France
The Greatest Songs Ever: Mexico
The Greatest Songs Ever: Cuba

ASIN: B0002SPPMI
Release Date: 2004-09-14

Tracks:

Una Llamada -- Tanghetto
Che Bandoneon -- Sandra Luna
Volver -- Carlos Gardel
Livertango -- Style Project
Zamba del Carnival -- Pedro Aznar with Angela Irene
Sera Manana -- Duo Donia Possetti
Michelangelo 70 -- Astor Piazzolla
La Nostalgiosa -- Liliana Herrero
Aruricu Abuela Adela -- Claudio Sosa
Soledad -- Astor Piazzolla
Francanapa -- Cuarteto Almagro
La Copa De Olivido -- Carlos Gardel
A Un Semejante -- Sandra Luna
Volver -- Adrian laies Trio

Album Description

Full of the sensual sounds of global music, these lush, sexy songs continue your musical journey around the world: India, Argentina, France and Ireland. It's hot music perfect to keep your parties in a cool groove. Previously these international best-sellers have only been available as imports, but now Time-Life recently partnered with Petrol Records of Australia (founded by music veteran and former INXS manager Chris Murphy) to offer these incredible collections to consumers in the States. From the bold and beautiful cover art to the easily enjoyable songs full of intoxicating rhythms from exotic locales, these albums are awesome. This premium collection of The Greatest Songs Ever delivers timeless, infectious music that celebrates the diversity and vibrancy of other culturesâ€"you get the best versions of the finest classic songs from India, Argentina, France and Ireland by their most renowned artists.

Average customer rating:

"themes & cues savor the romantic that dwells in all of us"

Reel Love: The Cinematic Romance Album

Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

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Reel Chill: The Cinematic Chillout Album
Ultimate Movie Album
The Boston Pops: Romance Classics
Hard to Find Orchestral Instrumentals II
Great Movie Love Themes: Five Star Collection

ASIN: B0007R8ESQ
Release Date: 2005-04-12

Tracks:

Gone With The Wind: Tara's Theme
Theme From A Summer Place
Doctor Zhivago: Main Title & Lara's Theme
El Cid: Love Theme
It's A Wonderful Life
Vertigo: Scene D'Amour
Ryan's Daughter: Rosy's Theme
Somewhere In Time: Main Theme
The Young And The Restless: Nadia's Theme
Play Misty For Me: Misty - Tony Lee
Casablanca: As Time Goes By
Love Story: Where Do I Begin?
Emma: Main Theme
Sense And Sensibility: Throw The Coins
Pride And Prejudice: Main Theme

Tracks:

A Man And A Woman: Un Homme Et Une Femme - Mary Carewe
Il Postino: Main Themes
Jean De Florette: Main Title
The Summer Of '42: The Summer Knows
Emanuelle
Last Tango In Paris
Romeo And Juliet: Love Theme
Cinema Paradiso: Love Theme
Braveheart: End Titles
Indecent Proposal: Main Theme
Ghost: Unchained Melody
Titanic: My Heart Will Go On
Edward Scissorhands: Main Title/Ice Dance
The English Patient: As Far As Florence
Finding Neverland: Impossible Opening

Customer Reviews:

"themes & cues savor the romantic that dwells in all of us".......2005-04-12

What a crowning achievement to bring "Reel Love: The Cinematic Romance Album", released by Silva America and featuring The City of Prague Philharmonic Orchestra and the Crouch End Festival Chorus ~ conductors are Kenneth Alwyn, Paul Bateman, James Fitzpatrick, Nic Raine and David Temple director of the chorus ~ one can only expect the highest quality of performances and quench the thirst of all "film-score-buffs".

Sit back and unleash the first disc with composers taking each film score cue in alphabeltical order:

"CASABLANCA (AS TIME GOES BY)" (Herman Hupfeld)
"DOCTOR ZHIVAGO (MAIN TITLE & LARA'S THEME)" (Maurice Jarre)
"EL CID (LOVE THEME)" (Miklos Rozsa)
"EMMA (MAIN THEME) (Rachel Portman)
"GONE WITH THE WIND (TARA'S THEME)" (Max Steiner)
"IT'S A WONDERFUL LIFE" (Dimitri Tiomkin)
"LOVE STORY (WHERE DO I BEGIN)" (Francis Lai)
"PLAY MISTY FOR ME (MISTY)" (Errol Garner)
"PRIDE & PREJUDICE (MAIN THEME)" (Carl Davis)
"RYAN'S DAUGHTER (ROSY'S THEME)" (Maurice Jarre)
"SENSE AND SENSIBILITY (THROW THE COINS)" (Patrick Doyle)
"SOMEWHERE IN TIME (MAIN THEME)" (John Barry)
"THEME FROM A SUMMER PLACE" (Max Steiner)
"VERTIGO (SCENE D'AMOUR)" (Bernard Herrmann)
"YOUNG & THE RESTLESS (NADIA'S THEME)" (Barry DeVorzon/Perry Botkin Jr)

Arrangements that soar and then simmer into pure meditation of grandeur ~ classic film music prevails, as orchestration comes to the surface with pure originality ~ one masterpiece after another is long last presented as it should have been, is cause for celebration ~ each cue is a distinctive gift for striking modernism, touching on the transition of the period in this planets history.

Second disc is waiting in the wings are the composers and selections also in alphabeltical order:

"A MAN AND A WOMAN (UN HOMME ET UNE FEMME)" (Francis Lai)
"BRAVEHEART (END TITLES)" (James Horner)
"CINEMA PARADISO (LOVE THEME)" (Ennio Morricone)
"EDWARD SCISSORHANDS (MAIN TITLE/ICE DANCE)" (Danny Elfman)
"EMMANUELLE" (Pierre Bachelet/Herve Roy)
"ENGLISH PATIENT (AS FAR AS FLORENCE)" (Gabriel Yared)
"FINDING NEVERLAND (IMPOSSIBLE OPENING)" (Jan A. P. Kaczmarek)
"GHOST (UNCHAINED MELODY)" (Alex North)
"IL POSTINO (MAIN THEME)" (Luis Bacalov)
"INDECENT PROPOSAL (MAIN THEME)" (John Barry)
"JEAN DE FLORETTE (MAIN TITLE)" (Jean Claude Petit)
"LAST TANGO IN PARIS" (Gato Barbier)
"ROMEO AND JULIET (LOVE THEME)" (Nino Rota)
"SUMMER OF '42 (THE SUMMER KNOWS)" (Michael Legrand)
"TITANIC (MY HEART WILL GO ON)" (James Horner)

Each composer has the passion and skill for exploring human emotions, coupled with a unique gift for striking exotic orchestral colors, make this with all it's splendor unforgettable ~ themes that ring with familiarity as each film comes to mind through music.
Silva America gives the collector a treasure of thirty film cues that any "film-score-buff" would die for ~ in the past James Fitzpatrick (producer), Reynold da Silva (executive producer), mastered by Rick Clark and David Stoner (release co-ordinator) have given us compilation with such expertise and this one is no exception ~ keep up the outstanding limited editions and deluxe package releases, with your signature tidbits for all film music fans that's in all of us...gotta love it!

Total Time: 2-CD-Set ~ Silva America 1177 ~ (4/12/2005)

Average customer rating:

Delightful collection

Favorite Violin Encores

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

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ASIN: B0000041D4
Release Date: 1995-10-17

Tracks:

Sicilienne
Rondo, K. 250
Mdie
Danza espanola No. 5: Danza espanola No. 5 'Andaluza'
Schosmarin
Liebesleid
Liebesfreud
Allegro
Siciliano, Op. 3, No. 11: Siciliano, Op. 3, No. 11, RV 565
Tambourin
Minuet In G, WoO 10 No. 2
Ava Maria, Op. 52, No. 6
Humoresque In G Flat, Op. 101 No. 7
Mtation de Tha
Valse sentimentale, Op. 51 No. 6
Largo
Rondino On A Theme Of Beethoven
Andantino In The Style Of Padre Martini
La Capricieuse
Apres un reve, Op. 7 No. 1
Tango, Op. 165 No. 2
Valse triste
Estrellita
Nocturne, Op. 51 No. 3

Tracks:

Andantino
Standchen, D. 957, No. 4: Serenade
Divertimento In D, K. 334: Menuet
Kinderszenen, Op. 15: Scenes d'enfants, No. 7 Traumerei
Sonatine In G, Op. 100: Larghetto
Ave Maria: Meditation sur le 1er prelude de J.S. Bach
Sonata No. 12 In E Minor: Sonata No. 12 In E Minor, Op. 3, No. 6
Songs My Mother Taught Me: Songs My Mother Taught Me, Op. 3, No. 6
Souvenir de Moscou: Souvenir de Moscou, Op. 6
Piece en forme de habanera
Zigeunerseisen, Op. 20, No. 1: Airs bohemiens
Allegro
Les berceaux: Les berceaux, Op. 23, No. 1
Tzigane
Baal shem: Nigun
Adagio

Customer Reviews:

Delightful collection.......2001-03-25

A delightful collection of shorter works for violin with piano accompaniment, some of them extremely familiar, others less so, but with Grumiaux's lyrical style (not flamboyant like Perlman's, but graceful and beautiful in an understated way), and fine accompaniment, the music on these 2 CDs is consistently excellent and can be listened to either consecutively or just a few pieces at a time. Well worth having.

Average customer rating:

A Timely Performance
Outstanding; a soon to be classic
Uninspired tedium
Holocaust Cantata: A Five Star Work of Art
An excerpt from my liner notes...

Holocaust Cantata

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
Similar Items:

Composers of the Holocaust: Ghetto Songs & Instrumental Works
MUSIC FROM THE HOLOCAUST
Rossini: Petite Messe solennelle
Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps (Oxford Historical Monographs)
Forbidden Music: Music from Theresienstadt

ASIN: B000031VRF
Release Date: 1999-11-23

Tracks:

The Prisoner Rises
Singing Saved My Life
Song Of The Polish Prisoners
The Execution Of The Twelve
In Buchenwald
A State Of Seperation
The Train
Singing From Birth To Death
The Striped Ones
There's No Life Like Life At Auschwitz
Tempo di Tango
Letter To Mom
Song Of Days Now Gone
Passacaille For Cello And Piano
Even When God Is Silent
A Child's Journey: An Accidental Meeting
A Child's Journey: I Once Had A Friend
A Child's Journey: There Are No Stars In The Sky
Is Not A Flower A Mystery?
We Remember Them

Album Description

The Holocaust Cantata uses the words and music of actual concentration camp inmates to create a wholly original and powerful work. Using material found within the archives of the United States Holocaust Memorial Museum, Donald McCullough's Holocaust Cantata traverses one of the bleakest episodes in human history. Yet the piece also evokes a sense of music's life-affirming power, even in the face of absolute despair, to express what words alone cannot.

McCullough discovered the material within the vast Aleksander Kulisiewicz collection in the museum's archives. Kulisiewicz himself had performed as a kind of camp troubador during his own incarceration at Sachsenhausen, and, after the war, spent several years interviewing fellow survivors about music in the camps, gathering together the scattered remnants of this music.

As McCullough painstakingly sifted through this material-much of which was uncatalogued-the arresting melodies and compelling testimonies that make up the Holocaust Cantata gradually began to emerge. "I wanted the Cantata to speak with a sense of immediacy," says McCullough, explaining his decision to set the choral texts and spoken testimonies in English, and his hope is that the piece may "transform statistics into people in the minds of the Cantata's listeners, and perhaps be a part of making it more difficult for such a horror ever to occur again." The Washington Post, reviewing the world premiere in March 1998, called it "an experience that should linger long in the audience's memory and should be regularly revived."

Customer Reviews:

A Timely Performance.......2001-11-18

In August of 2001, the choral group I sing with began practicing this work for performance on Veteran's Day Nov 11. We rehearse on Tuesday nights. As we all know on Tuesday Sept 11 the world change forever. Of course rehearsal was cancelled. When we returned the next Tuesday - a piece that we all thought was so powerful became more so. The first song contains the words "the fires burning, the iron furnace..". The paralells to what happened were evident. As one of the reviewers noted " so this can never happen again", well it has, only much faster, in one single day. Hate caused both events. People need to hear this CD and really listen to the words of the songs and the narration, and maybe we can prevent this from happening again and again. A MUST HEAR FOR ALL THE PEOPLE OF THE WORLD. The music and lyics came from the hearts and the lives of the prisoners.This is a beautiful tribute to them.

Outstanding; a soon to be classic.......2000-05-04

Beautifully written and performed! This recording and an encore live performance of this inspiring work were downright demanded by audiences after the premiere. I rate it a "strong buy."

Uninspired tedium.......2000-04-28

McCullough has appropriated other people's material, "choralized" it, and appears to be attempting to capitalize on a wave of political correctness to buy himself a Grammy nomination. There are a few nice tunes scattered throughout this tedious piece, but overall the interpretation is lifeless, unimaginative, and uninspired, almost clinical. Here's hoping that victims of the Shoah can find a more suitable expression of their music than McCullough has tried to give them. They deserve better than this.

Holocaust Cantata: A Five Star Work of Art.......2000-01-07

For me, the Holocaust Cantata is one of those artistic representations of that cataclysmic period that evokes an even stronger picture of the horrors of the Holocaust then do many pictures in newspapers and museum exhibits. I think this is because the Cantata is poetry-it's message sounds a spare and powerful truth. I am grateful to Mr. McCullough for his vision and energy in bringing about the Holocaust Cantata.

An excerpt from my liner notes..........1999-11-25

I was present at the March 1998 Kennedy Center premiere of this extraordinary work, and subsequently wrote the liner notes for the CD. Because of the unusual nature of this recording-which I think captures the haunting beauty of this work-I believe that others would be interested in reading an excerpt from my notes on the music. Please note that I am posting this material with the permission of the composer, Donald McCullough:

Notes on the Music

It is well-known that during the Holocaust inmates wrote music while incarcerated in concentration camps. Much of it has since been recorded. At Theresienstadt, for instance-the infamous "Paradise Ghetto"-the Nazis organized an orchestra made up of young musicians who had studied under such luminaries as Leos Janacek and Arnold Schoenberg. Most of these musicians, among them such promising students as Gideon Klein and Viktor Ullmann, perished during the Holocaust, leaving behind but a few pieces, composed under duress and co-opted by the Nazis for their own propaganda purposes. What might they have eventually accomplished had they survived? Such classical music-beautiful as it is-was the product of formally trained musicians. What about the music of the common man-music embraced by the whole community and passed secretly by aural transmission-music that carried with it powerful words revealing different aspects of camp life, or expressing the inmates' innermost feelings, of mourning, or resistance, or patriotism? Was there other Holocaust music, akin to the spirituals that sprang from slavery in America, that spoke with the same startling immediacy to express the agony of the victims of the Nazi regime?...

McCullough's [quest to answer this question] began with a call to Bret Werb, musicologist at the United States Holocaust Memorial Museum, who revealed the existence of the Aleksander Kulisiewicz collection in the museum archives. Kulisiewicz had traveled about Europe during the postwar period collecting and preserving what he could of the music that had emerged from the Holocaust concentration camps, but little was known about the music itself.

McCullough's first task, then, was to immerse himself in the collection, playing through the hundreds of tunes. He was encouraged to find that they contained some compelling melodies, and for the first time he began to wonder whether a choral cantata-perhaps reflecting the role of music in the camps or evoking the daily lives of these people-might emerge from the material. But he still had no idea what lay within the accompanying text.

At some point, someone had added a rough, English-language index to the collection, but the materials themselves were mostly in Polish. Marcin Zmudzki, a young Pole, was engaged to sift through the mountain of texts. McCullough told the translator that he was interested in anything that had to do with camp life, especially as it related to music. As he recalls, "It was my good fortune that not only was Marcin an excellent translator, but also he had a sense for poetry and thus grasped, very quickly, the type of material I was seeking."

In addition to music, Kulisiewicz also collected interviews, articles, and letters that had anything to do with camp life. With this wealth of material, McCullough decided to place between each musical arrangement readings that also spoke of life in the camps. After considering and rejecting literally hundreds of documents, he finally decided that he had what he needed from the archives. But in a sense, the real work was just beginning. "Because I wanted the Cantata to speak with a sense of immediacy," says McCullough, "I thought it should be sung in English. But before I could arrange a single note of it, I needed to have singable translations. Here I employed the talents of lyricist Denny Clark, who at first worked with Marcin, getting a word by word translation. Knowing which words appear on which notes is important in keeping the overall impact of the song." A trained singer himself, Clark was able to make transliterations to ensure that the best vowels for singing fell on the proper notes, all while remaining faithful to the original text. It was an immensely complicated task....

A few words about the structure of the Cantata. As you listen you should not look for a plot, as such. Because each song and reading represents a different person, a different place, and a different time in the Holocaust experience, you should be wary about viewing the entire piece as a streaming narrative. Nonetheless, certain common truths will begin to emerge, and no doubt others will come to you with each successive hearing. Among these is the certainty that these are nakedly honest responses to the most unthinkable of acts. Sometimes the responses are jarring; who could find humor amid such horror? And yet humor-albeit dark in nature-undoubtedly exists within this work. Nevertheless the inmates' responses never sink to the level of triteness. For them, music functioned as something much more than just a light in the darkness; its very existence was a form of spiritual resistance in an environment where such resistance risked instant extermination.