| 1. Viens Avec Moi - Stomy Bugsy, , Passi |
| 2. J'Suis Né a Pigalle |
| 3. Tout le Monde Peut Atteindre Ses Rêves (Bug's Life II) |
| 4. Femme en Prison - Stomy Bugsy, Kelly Rowland |
| 5. Drole de Vie |
| 6. J'Refuse de Partir |
| 7. C'Était en Colos |
| 8. M. C Malcriado - Stomy Bugsy, , , |
| 9. Pas d'Celles - Stomy Bugsy, |
| 10. Bugsy |
| 11. Bienvenue en Enfer |
| 12. Je Serai Toujours la Pour Toi |
| 13. Jour et la Nuit |
| 14. Passager 57 |
| 15. Mauvaises Habitudes - Stomy Bugsy, |
Editorial Reviews
Product Description
2003 Release from French Hip Hop/R&b Star. 15 Tracks Recorded in Paris Los Angeles and Marseille.
Please buy it.
The First, Second, Third and Fourth Bookes of Songes, A Musicall Banquet, the keyboard transcriptions, all the lute music, consort music are here and virtually everything else written or supposedly written by John Dowland. Anthony Rooley and The Consort of Musicke perform this music with style and feeling throughout. This 12 CD set is something of a monument to the ensemble - I only wish they'd finished their collection of Monteverdi madrigals, which was equally good (La Venexiana are currently doing a magnificent job of recording all Monteverdi's books of madrigals for the GLOSSA label).
This is an expensive set, however, you will probably never need to buy another John Dowland CD again after buying and listening to this collection.
I bought this CD set on a mild Summer evening of 1998 and listened to it while sitting in my sun room - which a glorious orange sunset in progress, and a glass of wine. It brought back so many memories.
Fischer-Dieskau roughens up his voice for the role, and therein lies a problem. The voice spreads and his diction suffers because of it; that and his unidiomatic pronounciation, with far too many rolled "r"s. He does the drama well, but what works well in lieder works here less well on the large scale. Odd, given his success as on opera singer (check out his Iago), that here he frequently comes off blustery.
Dame Gwyneth Jones belies her reputation and gives a contolled, dramatic performance, using her "edge" to advantage in "Hear Ye, Israel". Gedda's diction is amazing, with exactly the right color for this literature, and projecting a little more blood than an English tenor.
Dame Janet Baker is my star in this performance. Dramatic, heart-rending when need be, and in wonderful voice. She'll chill your blood when she tells the people of Baal to "slaughter him, do what he hath done!".
And as for the people of Baal, the Philharmonia Chorus is wonderful. Incisive and dramatic, with beautiful tone. I could do without the trick of the boy choir for "Lift Thine Eyes", and I miss the small ensembles, but all in all a fine performance, and good recording, circa 1968.
First choice in English, Daniels/Terfel: better Elijah in Terfel, better recording, more authentic orchestra, small vocal ensembles (as per the score) but inferior women (including Fleming: beautiful tone, but where's her head?). In German, it's Sawallisch/Adam all the way.
But if you're singing Elijah, and have a score, this is a good choice.
This recording is in every way wonderful. Starting with Dietrich Fischer-Dieskau. He IS Elijah to me. His singing is perfection. He has amazing phrasing and his diction makes it possible to understand the lovely, inspired libretto to this heavenly music. There are so many pieces that are ephemeral, but a couple of my favorites are: #14, Lord God of Abraham and #37, For the Mountains shall Depart. Dieskau does a great job of what I think of as compassionate, heartfelt singing. His interpretation sounds like the voice of God himself. It has a quality of kindness and yet he sounds just as convincing reprimanding the people of Baal. He is the true highlight of this recording.
That said, the rest of the cast is wonderful as well. Gwyneth Jones has a lovely, silvery voice that has a clarion bell-like tone that rings over the large orchestra with ease. She has occasional "misfire" but is a consistent performer. Dame Janet Baker and Nicolai Gedda both perform at a consistently lovely level. The orchestra and chorus are both wonderful. #15, Cast thy Burden upon the Lord, #32 He that Shall Endure to the End, and #38 Then Did Elijah are all highlights.
All said, for me the main reason to get this recording is Dieskau's Elijah- after all, he's the main character. But don't forget the lovely music. This story is exciting and passionate and sacred all at the same time. For me, it's the best oratorio that has a moving story and great music too.
Others have remarked on the "heavy breathing" noticeable on the recordings -- it's not heavy breathing, but the movement of his fingers on the gut strings making that sound.
but especially in the US, this set becomes an essential "must have" for all lovers of the lute.
Yet it somehow disappoints.
I am sure that Paul O'Dette is brimming over with virtuousity and a technical expertise
that I am hardly one to pass sound judgement upon.
But the recordings have a flatness and monotony;
the songs are rendered with precision, but seem to lack feeling, empathy, or enthusiasm throughout the offering.
It is an impressive compendium, and I'm glad I purchased it.
There are very few lutenists out there producing any music at all, so Mr. O'Dette should certainly be praised
for delivering such a substantial feast to our ears.
It just should have had more flavor.
Where is Konrad Ragossnig when you need him?
A few tunes appear more than once as Dowland reused some work, but the arrangements are sufficiently different to be interesting. It is his complete lute works, after all. Some might criticise the set for sounding too much in the same style. It is the work of one composer, and if you happen to like the style, as I do, this is a pro rather than a con.
Another reviewer mentioned obtrusive breathing on the recording. I had listened to Volume 1 for two years before reading the review and had not noticed this. On listening carefully, there is breathing audible, but I do not find it a problem. Perhaps it depends whether one listens to the music or the background.
I finally got it yesterday. I decided to put it in my CD player, and take it in while reading the program notes she included in the CD jacket. Wow, what a performance!
Ms. Balsom plays everything from Sweelinck's "Variations on 'Mein junges Leben hat ein End'" to Petr Eben's "Windows" with a sweet and captivating tone, and with virtuosic technical ability to match. Her performance on the "suite" of excerpts from Act IV of Purcell's "King Arthur," played on the baroque trumpet (basically a trumpet with no valves) was especially remarkable; and her performances of "Shenandoah" and George Thalben-Ball's "Elegy" on the flugelhorn were incredibly passionate. She captures the emotion of the pieces well.
Whether your interests are in late Renaissance or Baroque music, 20th century music, or anything in between; it's on this CD. And it's all played incredibly well. I would recommend reading her program notes that accompany the CD, they really add a lot to her performance.
Wunderlich's voice is one that can be light and airy at times, yet it can also have a dramatic intensity. This two disc set includes a variety of pieces that display Wunderlich's wide range and great vocal talent. His excerpts from Mozart are perhaps his strongest. So often the tenor roles in Mozart operas are cast with performers who are agile and can reach the higher notes, but their voices are somewhat weak. Wunderlich shows just how beautiful these arias can be. The same holds true for his arias from EUGENE ONEGIN and the pieces from well known operettas. His "Au Fond De Temple Saint" performed with Hermann Prey (a dream team pairing if there ever was one) is close to the Bjorling/Merrill rendition. We see his versatility in the excerpt from Haydn's CREATION and the live performance of "Di Rigori Armato" from DER ROSENKAVALIER is a treat and allows the listener to compare his live and studio recordings. The bonus DVD has a few slight flaws, but we see, at least in the scenes from THE BARBER OF SEVILLE that he not only has a wonderful voice but a good stage presence as well.
Most of the tracks are performed in German, even the Bellini, Bizet, and Verdi tracks, as was the case in many of the recordings of famous German singers. This may detract at first, especially of we expect to hear gorgeous French singing and it comes out, well German sounding. Still, it's a wonderful set with great variety and shows us what we missed in this tenor whose career had just begun.
Many of the tracks are not new to CDs: I'd say 50% of them are also in the "Art of Fritz Wunderlich" set (DG, 7 CDs), including Handel, Mozart, Bellini, and other opera arias. There are 3 tracks from "Don Giovanni" which I had not encountered elsewhere, and a scene from Richard Strauss's "Der Rosenkavalier" + 5 Strauss Lieder (with orchestra) not previously released in recent years.
Wunderlich was never less than the very best, and here is no exception. The bonus DVD has almost 30 minutes of scenes of Wunderlich (Count Almaviva) in Rossini's "Barber of Seville", sung in German with Hermann Prey (Figaro) and Erika Koth (Rosina) from a 1959 black and white TV production, in very good mono sound; and two scenes from Tchaikovsky's "Eugene Onegin", also sung in German, and with a young Brigitte Fassbaender (a little more hiss but very good, full, rich mono sound). The Rossini is available from English sources, and hopefully will be available in the US soon.
Like conductor Karl Bohm (1894-1981), I'm going to try to get as much Fritz Wunderlich material as I can find, CD or DVD, as is practical (and even when it isn't!).
Gianluigi Trovesi (clarinets) & Gianni Coscia (accordion), In Cerca di Cibo (5*)
Gianluigi Trovesi is a hidden jewel in today's jazz. Perhaps he's undersung because he's Italian: he performs and records in Italy, not in American jazz clubs or for a central American jazz label. Maybe, on these two albums, it's because some afficionados look down on the "European" clean jazz typical to ECM records. Above all, I suspect it's because the music he plays --though not the way he plays it-- is hard to classify.
Take these two albums. Are they jazz? Italian folk music? Composed or 'classical' music? Trovesi and Coscia mesh as well as any duo in jazz --think of the exquisite music made by duos such as Charlie Haden and Kenny Baron, Jim Hall and Ron Carter, or Gary Burton and Chick Corea on Crystal Silence. But the music Torvesi and Coscia produce on these two albums is devilishly difficult to classify. Sometimes they settle for composed lines, heartbreaking melodies played simply, simply. At other times, they clearly improvise, but seldom on recognmizable jazz lines. They are demons --Trovesi especially-- at quoting wildly from other pieces: they close one piece on the Weill album with "Blue Moon," another time with (almost) "Frere Jacques." But it's jazz nonetheless, played by two hyper-alert and super-intelligent musicians who mine their musical ancestry to consummate effect.
Of the two albums, my wife has a very slight preference for the Weill album, which is made up half of tunes written by Weill and most of the rest of the artists' own tunes that fit the mood of Weill. Both clarinet and acordion capture well the cabaret atmosphere of so many Weill tunes, including different versions of "Alabama Song" and "Tango Ballade."
On the Weill album, Trovesi continues his fascination with John Lewis's "Django," the moving funeral dirge for French gypsy guitarist Django Reinhardt first recorded by the Modern Jazz Quartet. (Trovesi plays "Django" on In Cerca di Cibo and quotes it on Around Small Fairy Tales.) This is appropriate because in some respects, Trovesi is like Lewis, though much hotter and more earthy at times. Both composed and have led groups that played music that critics saw as too 'classical.' Both used non-jazz idioms for jazz purposes.
I own five albums by Trovesi now, which is all I've been able to find and buy to date. Around Small Fairy Tales features Trovesi playing his own compositions with a string orchestra. From G to G and Fugace feature his octet, which sounds at times like a slightly woozy stepchild of the great George Russell experimental groups of the very early sixties. In an age that slights the clarinet as a solo instrument, Trovesi is arguably the best clarinetist in jazz, a major soloist and melodist.
I love this man and he's never sounded better than playing with Coscia. Needless to say, these two ECM albums are impeccably engineered for sound.
Dave Keymer
"Bargain-counter" tenor John Ferrante had a voice and talent like no other. The initial success of Schickele's efforts are due in large part to Ferrante's unique vocal contributions.
"Hansel And Gretel And Ted And Alice" is a superlative work-- a one act comic opera with seven characters, performed by Ferrante and Schickele, along with a solo piano. The play is by turns jolly, convoluted, silly, "shocking," but always melodious. In the opera's finale, the two performers are required to sing FOUR parts almost simultaneously, a feat complicated by Schickele's deftly donning and removing a wolf's head to play his two characters. Visually, this piece was an hysterical sight.
What can be said about the "O.K. Chorale"? The calliope-four-hands has never sounded as sweet.
The intro to the "Erotica Variations" is nearly as hilarious as the music itself. That the instruments involved were "banned" is a gift to us all!
"The Art Of The Ground Round" is the one selection from this album that everyone seems to remember. This is due in large part to punnish and impudent lyrics-- and our natural love of Row, Row, Row your boat-type group sings.
THE INTIMATE P.D.Q. BACH is highly recommended for all classical music lovers, fans of madcap comedy, and anyone who happens to live in Hoople, North Dakota.
TOTAL RUNNING TIME -- 50:14
"Hansel and Gretel and Ted and Alice" is billed as an opera in one unnatural act. It is silly and irreverent. It is also fun.
"The O.K. Chorale" is a lampoon of "The Sheep May Safely Graze" with "Swing Low Sweet Chariot" and others thrown in for comic effect. It is played on "calliope".
"Erotica Variations" is lifted from Beethoven's "Heroica". It features some rather obscure instruments that, hopefully, will not have anything else written for them.
"The Art of the Ground Round" is one of my all time favorites. It is a series of rounds or canons. As the voices start to overlap, a completely new set of lyrics appears.
These "compositions" may offend serious music lovers. For any one with a sense of humor about pretentious music it is a must.
GROUND ROUND's 3 tenors are John Ferrante, John Nelson, & The Schick. And every time I hear it, I come to it with an automatic prejudice that favors Ferrante's singing. But then I get subjected to John Nelson's luscious voice and it causes me to reconsider my favoritism. (Schickele's voice is 2000 light-years from contention.)
CSO on its top form under the baton of Giulini...Very well recorded sounds by EMI...Wonderfull edition(not cardboard!)...Incredible price for 4 CD... Highly,highly,highly recommended...
But as one hears on this excellent but not great collection, Giulini's Mahler is not as exciting as Bernstein's, his Berlioz not as gripping as Colin Davis's, his Brahms not as full of integrity as Klemperer's or Karajan's. He stood well below those great condcutors for much of his career, and yet Giulini was undoubtedly special. He just continued throughout his career to be spotty. His Bruckner Seventh on a live BBC recording is spectacular, even better than his inward, mystical recordings of the Burckner Eighth and Ninth for DG. I greatly admire his DG Schumann Rhenish Sym., his Erocia and Beethoven Fifth, and a live War Requiem and Schubert Ninth, both on BBC--while also acknowledging that he made many other recordings that didn't touch greatness.
I think Giulini had greatness in him, but there was some inner chemistry that had to fire, and even he didn't know when that would happen. In this regard he was like Klaus Tennstedt, who was even more erratic.
Giulini should have given us a great Mahelr Ninth and Das Lied von der Erde, but he didn't. HIs Missa Solemnis and Beethoven Ninth should have been towering spiritual achievements, but they are actually almost routine by great conductor standards. Sadly, he had no sublime autumn to his career; the late recordings on Sony and DG are distressingly slack and ponderous, often parodying his famous spirituality on the podium.
I think eveyrthing in this bargain set is of a high standard, not Giulini at his very peak but close.
Giulini performances mesmerized listeners from the opening downbeat, and the spell was rarely broken. Every phrase was shaped, yet sounded entirely natural. The music breathed as if driven by the human soul, rather than by the inanimate metronome. No detail was too small, yet the whole was not lost. The sound had an inner glow, with the viola and cello parts bathing the top and bottom lines with color and warmth. Lyrical passages flowed with a transcendent beauty; fiery sections cut the air with knife-edged precision and power. Climaxes accomplished their purpose without skewing orchestral balances. Through it all, players eagerly and lovingly responded to Giulini's overarching request: "Touch the heart."
Because of his sensitivity to the music's architecture, Giulini preferred to record entire movements in a single take. As such, his performances should be experienced in context, i.e., from beginning to end. Also, Giulini's extraordinary attention to detail is best appreciated in a suitably quiet setting, and on excellent sound equipment.
Giulini sought to make every moment of every performance meaningful and memorable. He loathed the mundane in music-making, and saw his role as "serving genius." Giulini interpretations often left listeners with the sense that they had just heard a great masterpiece for the first time.
"There was never any show about him," longtime Philharmonia Orchestra violinist Gillian Eastwood told WFMT Radio and EMI Classics as part of a four-hour documentary celebrating the now-retired conductor's ninetieth birthday in May 2004. "He was genuine, he was sincere in his music, he worried about everyone individually. The likes of him we shall never, ever see again."
Which is all the more reason to treasure these performances for the ages.
2003 Release from French Hip Hop/R&b Star. 15 Tracks Recorded in Paris Los Angeles and Marseille.
4 Round,Stomy Bugsy,Sony Int'l,Foreign Language Rap,France,Int'l & World Music,Pop,World Music
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Dowland - The Collected Works / The Consort of Musicke, Rooley
John Dowland , Anthony Rooley , Emma Kirkby , Christopher Wilson , The Consort of Musicke , Colin Tilney , Anthony Bailes , Jakob Lindberg , Nigel North , Glenda Simpson , Peter Holman , and John Donne Manufacturer: Decca ProductGroup: Music Binding: Audio CD  Pavanes
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ASIN: B000004CYV Release Date: 2007-03-13 |
Tracks:
- First Booke Of Songes: I. Unquiet Thoughts
- First Booke Of Songes: II. Who Ever Thinks Or Hopes Of Love
- First Booke Of Songes: III. My Thoughts Are Wing'd With Hopes
- First Booke Of Songes: IV. If My Complaints Could Passions Move
- First Booke Of Songes: V. Can She Excuse My Wrongs
- First Booke Of Songes: VI. Now, O Now, I Needs Must Part
- First Booke Of Songes: VII. Dear, If You Change
- First Booke Of Songes: VIII. Burst Fourth My Tears
- First Booke Of Songes: IX. Go Crystal Tears
- First Booke Of Songes: X. Think'st Thou Then By Thy Feigning
- First Booke Of Songes: XI. Come Away, Come Sweet Love
- First Booke Of Songes: XII. Rest Awhile, You Cruel Cares
- First Booke Of Songes: XIII. Sleep, Wayward Thoughts
- First Booke Of Songes: XIV. All Ye, Whom Love Or Fortune Hath Betray'd
- First Booke Of Songes: XV. Wilt Thou Unkind Thus Reave Me
- First Booke Of Songes: XVI. Would My Conceit
- First Booke Of Songes: XVII. Come Again: Sweet Love Doth Now Invite
- First Booke Of Songes: XVIII. His Golden Locks
- First Booke Of Songes: XIX. Awake, Sweet Love
- First Booke Of Songes: XX. Come, Heavy Sleep
- First Booke Of Songes: XXI. Away With These Self-Loving Lads
Tracks:
- Second Booke Of Songs: I. I Saw My Lady Weep
- Second Booke Of Songs: II. Flow My Tears
- Second Booke Of Songs: III. Sorrow, Stay
- Second Booke Of Songs: IV. Die Not Before Thy Day
- Second Booke Of Songs: V. Mourn, Mourn, Day Is With Darkness Fled
- Second Booke Of Songs: VI. Time's Eldest Son
- Second Booke Of Songs: VII. Then Sit Thee Down
- Second Booke Of Songs: VIII. When Others Sing Venite
- Second Booke Of Songs: IX. Praise Blindness Eyes
- Second Booke Of Songs: X. O Sweet Woods
- Second Booke Of Songs: XI. If Floods Of Tears
- Second Booke Of Songs: XII. Fine Knacks For Ladies
- Second Booke Of Songs: XIII. Now Cease My Wand'ring Eyes
- Second Booke Of Songs: XIV. Come Ye Heavy States Of Night
- Second Booke Of Songs: XV. White As Lilies Was Her Face
- Second Booke Of Songs: XVI. Woeful Heart
- Second Booke Of Songs: XVII. A Shepherd In A Shade
- Second Booke Of Songs: XVIII. Faction That Ever Dwells
- Second Booke Of Songs: XIX. Shall I Sue
- Second Booke Of Songs: XX. Toss Not My Soul
- Second Booke Of Songs: XXI. Clear Or Cloudy
- Second Booke Of Songs: XXII. Humour Say What Mak'st Thou Here
Tracks:
- Third Booke Of Songs 1603: I. Farewell, Too Fair
- Third Booke Of Songs 1603: II. Time Stands Still
- Third Booke Of Songs 1603: III. Behold A Wonder Here
- Third Booke Of Songs 1603: IV. Daphne Was Not So Chaste
- Third Booke Of Songs 1603: V. Me, Me, And None But Me
- Third Booke Of Songs 1603: VI. When Phoebus First Did Daphne Love
- Third Booke Of Songs 1603: VII. Say, Love, If Ever Thou Didst Find
- Third Booke Of Songs 1603: VIII. Flow Not So Fast, Ye Fountains
- Third Booke Of Songs 1603: IX. What If I Never Speed?
- Third Booke Of Songs 1603: X. Love Stood Amazed
- Third Booke Of Songs 1603: XI. Lend Your Ears To My Sorrow
- Third Booke Of Songs 1603: XII. By A Fountain Where I Lay
- Third Booke Of Songs 1603: XIII. O What Hath Overwrought
- Third Booke Of Songs 1603: XIV. Farewell, Unkind
- Third Booke Of Songs 1603: XV. Weep You No More, Sad Fountains
- Third Booke Of Songs 1603: XVI. Fie On This Feigning!
- Third Booke Of Songs 1603: XVII. I Must Complain
- Third Booke Of Songs 1603: XVIII. It Was A Time When Silly Bees
- Third Booke Of Songs 1603: XIX. The Lowest Trees Have Tops
- Third Booke Of Songs 1603: XX. What Poor Astronomers Are They
- Third Booke Of Songs 1603: XXI. Come When I Call
Tracks:
- A Pilgrimes Solace: I. Disdain Me Still
- A Pilgrimes Solace: II. Sweet Stay Awhile
- A Pilgrimes Solace: III. To Ask For All Thy Love
- A Pilgrimes Solace: IV. Love, Those Beams That Breed
- A Pilgrimes Solace: V. Shall I Strive Wih Words To Move?
- A Pilgrimes Solace: VI. Were Every Thought An Eye
- A Pilgrimes Solace: VII. Stay, Time, Awhile Thy Flying
- A Pilgrimes Solace: VIII. Tell Me, True Love
- A Pilgrimes Solace: IX. Go Nightly Cares
- A Pilgrimes Solace: X. From Silent Night
- A Pilgrimes Solace: XI. Lasso vita mia
- A Pilgrimes Solace: XII. In This Trembling Shadow Cast
- A Pilgrimes Solace: XIII. If That A Sinner's Sights
- A Pilgrimes Solace: XIV. Thou Mighty God
- A Pilgrimes Solace: XV. When David's Life
- A Pilgrimes Solace: XVI. When The Poor Cripple
Tracks:
- A Pilgrimes Solace: XVII. Where Sin Sore Wounding
- A Pilgrimes Solace: XVIII. My Heart And Tongue Were Twins
- A Pilgrimes Solace: XIX. Up Merry Mates
- A Pilgrimes Solace: XX. Welcome Black Night
- A Pilgrimes Solace: XXI. Cease, Cease These False Sports
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Lachrimae Pavane
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can Shee
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: The Frogge
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Frog's Galliard
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavana And Galiarda
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana Lachrymae
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can She Excuse
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavion Solus cum sola
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Dowland's Almayne
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Piper's Paven And Galliard
- Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavan Lachrymae
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- Mr. Henry Noell Lamentations: I. The Lamentation Of A Sinner
- Mr. Henry Noell Lamentations: II. Domine ne in furore
- Mr. Henry Noell Lamentations: III. Miserere mei Deus
- Mr. Henry Noell Lamentations: IV. The Humble Suit Of A Sinner
- Mr. Henry Noell Lamentations: V. The Humble Complaint Of A Sinner
- Mr. Henry Noell Lamentations: VI. De profundis
- Mr. Henry Noell Lamentations: VII. Domine exaudi
- Lachrimae: Lachrimae Antiquae
- Lachrimae: Lachrimae Antiquae Novae
- Lachrimae: Lachrimae Gementes
- Lachrimae: Lachrimae Tristes
- Lachrimae: Lachrimae Coactae
- Lachrimae: Lachrimae Amantis
- Lachrimae: Lachrimae Verae
- Lachrimae: Mr. John Langton's Pavan
- Lachrimae: Mr. Nicholas Gryffith His Galiard
- Lachrimae: Sir John Souch His Galiard
- Lachrimae: Semper Dowland Semper Dolens
- Lachrimae: Mr. Giles Hobies Galiard
- Lachrimae: The King Of Denmark's Galiard
- Lachrimae: Sir Henry Umpton's Funerall
- Lachrimae: Mr. Henry Noell His Galiard
- Lachrimae: The Earl Of Essex Galiard
- Lachrimae: Mr. Bucton His Galiard
- Lachrimae: Mr. George Whitehead His Almand
- Lachrimae: Captain Digorie Piper His Galiard
- Lachrimae: Mr. Thomas Collier His Galiard
- Lachrimae: Mrs. Nichols Almand
Tracks:
- Sacred Songs: Sorrow, Come!
- Sacred Songs: I Shame At Mine Unworthiness
- Sacred Songs: An Heart That's Broken And Contrite
- Psalms: Psalm 100: All People That On Earth Do Dwell
- Psalms: Psalm 38: Put Me Not To Rebuke O Lord
- Psalms: Psalm 130: Lord To Thee I Make My Moan
- Psalms: Psalm 104: My Soul Praise The Lord
- Psalms: Psalm 100: All People That On Earth Do Dwell
- Psalms: Psalm 134: Behold And Have Regard
- A Prayer For The Queen's Most Excellent Majesty
- Instrumental Music: Solus cum sola pavan
- Instrumental Music: Lachrimae
- Instrumental Music: Galliard
- Instrumental Music: Pipers Pavan
- Instrumental Music: Lachrimae
- Instrumental Music: Lady Rich Galliard
- Instrumental Music: Earl Of Essex Galliard
- Instrumental Music: If My Complaints
- Instrumental Music: Lachrimae Doolande
- Instrumental Music: Lord Willoughbie's Welcome Home
- Instrumental Music: My Lord Chamberlaine His Galliard
- Instrumental Music: Comagain
- Instrumental Music: Pavan Lachrymae
- Instrumental Music: Sorrow Stay
Tracks:
- Lute Music: Preludium
- Lute Music: Lachrimae
- Lute Music: Can She Excuse
- Lute Music: Dr. Case's Pavan
- Lute Music: Melancholy Galliard
- Lute Music: Sir John Smith, His Almain
- Lute Music: Fantasia
- Lute Music: A Dream
- Lute Music: Almain
- Lute Music: The Queen's Galliard
- Lute Music: Coranto
- Lute Music: Resolution
- Lute Music: Mrs. Vaux Galliard
- Lute Music: Almain
- Lute Music: Mr. Dowland's MIdnight
- Lute Music: Fantasia
- Lute Music: Loth To Depart
- Lute Music: The Most Sacred Queen Elizabeth, Her Galliard
- Lute Music: The Earl Of Essex, His Galliard
- Lute Music: Pavan
- Lute Music: John Dowland's Galliard
- Lute Music: Aloe
- Lute Music: The Lady Clifton's Spirit
- Lute Music: What If A Day
- Lute Music: Mr. Giles Hobie's Galliard
- Lute Music: Come Away (Song arrangement)
- Lute Music: Galliard
- Lute Music: Fancy (Fantasia)
Tracks:
- Lute Music: Lachrimae (Basic Version)
- Lute Music: Galliard To Lachrimae
- Lute Music: [Jig]
- Lute Music: Galliard On 'Wasingham'
- Lute Music: Complaint (Ballad Setting)
- Lute Music: Mignarda (Galliard)
- Lute Music: Semper Dowland Semper Dolens (Pavan)
- Lute Music: The Frog Galliard
- Lute Music: A Fancy (Fantasia)
- Lute Music: Fancy (Fantasia)
- Lute Music: Piper's Pavan
- Lute Music: Captain Digorie Piper's Galliard
- Lute Music: Lady Laiton's Almain
- Lute Music: Dowland's Galliard
- Lute Music: Dowland's First Galliard
- Lute Music: Tarleton's Jig
- Lute Music: Walsingham (ballad Setting)
- Lute Music: Lord Willoughbie's Welcome Home (Ballad Setting)
- Lute Music: Sir Henry Guilforde, His Almain
- Lute Music: Pavan (Related To 'Lachrimae')
- Lute Music: Mr. Langton's Galliard
- Lute Music: Mrs. Clifton's Almain
- Lute Music: Galliard
- Lute Music: Lady Hunsdon's Puffe (Almain)
- Lute Music: Galliard
- Lute Music: Go From My Window (Ballad Setting)
- Lute Music: Fancy (Fantasia)
Tracks:
- Lute Music: Pavana Johan Douland
- Lute Music: Mrs. Brigide Fleetwood's Pavan (Solus sine sola)
- Lute Music: La mia Barbara
- Lute Music: Sir Henry Umpton's Funeral (Pavan)
- Lute Music: Lachrimae
- Lute Music: Farewell Fancy (Chromatic Fantasia)
- Lute Music: Farewell (On The 'In Nomine' Theme)
- Lute Music: The King of Denmark's Galliard
- Lute Music: Mrs. Vaux's Jig
- Lute Music: Mrs. Nichol's Almain
- Lute Music: Galliard
- Lute Music: Lord Strang's March
- Lute Music: Mrs. Winter's Jump
- Lute Music: Can She Excuse (Galliard)
- Lute Music: The Shoemaker's Wife, A Toy
- Lute Music: Mrs. Norrish's Delight
- Lute Music: Galliard
- Lute Music: Mrs. White's Thing (Almain)
- Lute Music: Mrs. White's Nothing
- Lute Music: The Frog Galliard
- Lute Music: Solus cum sola
- Lute Music: The Lord Viscount Lisle, His Galliard
- Lute Music: Orlando Sleepeth (Ballad Setting)
- Lute Music: Robin (Ballad Setting)
- Lute Music: Galliard (On A Galliard By Daniel Bacheler)
- Lute Music: Forlorn Hope Fancy (Chromatic Fantasia)
Tracks:
- Lute Music: The Lady Russell's Pavan
- Lute Music: Fancy (Fantasia)
- Lute Music: Sir John Langton's Pavan
- Lute Music: Earl Of Derby, His Galliard
- Lute Music: A Coy Toy
- Lute Music: Fortune My Foe
- Lute Music: [Almain]
- Lute Music: Mr. Knight's Galliard
- Lute Music: Sir John Souch His Galliard
- Lute Music: Tarletone's Riserrectione
- Lute Music: The Lady Rich, Her Galliard
- Consort Music: Lachrimae Pavan
- Consort Music: Can She Excuse Galliard
- Consort Music: Captain Piper's Pavan And Galliard
- Consort Music: The Frog Galliard
- Consort Music: Round Battell Galliard
- Consort Music: Fortune My Foe
- Consort Music: Dowland's First Galliard
- Consort Music: Katherine Darcie's Galliard
- Consort Music: Tarleton's Jigge
- Consort Music: Almain a 2
- Consort Music: Mistress Nichols Almain a 2
- Fullsack And Hildebrandt: Auserlesener Paduanen und Galliarden: Susanna Fair (Galliard)
- Haussmann: Rest von polnischen und andern Tanzen: Mistress Nichols Alman a 5
- Opusculum: Mr. John Langton Pavan And Galliard
- Opusculum: La mia Barbara Pavan and Galliard
- Opusculum: Lachrimae Antiquae Novae Pavan and Galliard
Tracks:
- Consort Music: Mistress NIchols Almain
- Consort Music: Volta a 4 ('Ioh. Douland')
- Consort Music: Were Every Thought an Eye
- Consort Music: Lady If You So Spite Me
- Consort Music: Pavan a 4
- A Musicall Banquet: I. My Heavy Sprite (Anthony Holborne)
- A Musicall Banquet: II. Change Thy Mind Since She Doth Change (Richard Martin)
- A Musicall Banquet: III. O Eyes, Leave Off Your Weeping (Robert Hales)
- A Musicall Banquet: IV. Go, My Flock, Go Get You Hence (Anon.)
- A Musicall Banquet: V. O Dear Life, When Shall It Be? (Anon.)
- A Musicall Banquet: VI. To Plead My Faith (Daniel Bacheler)
- A Musicall Banquet: VII. In A Grove Most Rich Of Shade (Guillaume Tessier)
- A Musicall Banquet: VIII. Far From Triumphing Court
- A Musicall Banquet: IX. Lady, If You So Spite Me
- A Musicall Banquet: X. In Darkness Let Me Dwell
- A Musicall Banquet: XI. Si le parler et le silence (Pierre Guedron)
- A Musicall Banquet: XII. Ce penser qui sans fin tirannise ma vie (Pierre Guedron)
- A Musicall Banquet: XIII. Vous que le Bonheur rappelle (Pierre Guedron)
- A Musicall Banquet: XIV. Passava Amor su arco desarmado (Anon. Spanish)
- A Musicall Banquet: XV. Sta notte mi sognava (Anon. Italian)
- A Musicall Banquet: XVI. Vuestros ojos tienen d'Amor (Anon. Spanish)
- A Musicall Banquet: XVII. Se di farmi morire (Domenico Maria Megli)
- A Musicall Banquet: XVIII. Dovro dunque morire? (Giulio Caccini)
- A Musicall Banquet: XIX. Amarilli mia bella (Giulio Caccini)
- A Musicall Banquet: XX. O bella piu (Anon, Italian)
Customer Reviews:
The greatest songs ever?.......2007-07-26
Please buy it.
A musical treasure-box.......2006-09-10
The First, Second, Third and Fourth Bookes of Songes, A Musicall Banquet, the keyboard transcriptions, all the lute music, consort music are here and virtually everything else written or supposedly written by John Dowland. Anthony Rooley and The Consort of Musicke perform this music with style and feeling throughout. This 12 CD set is something of a monument to the ensemble - I only wish they'd finished their collection of Monteverdi madrigals, which was equally good (La Venexiana are currently doing a magnificent job of recording all Monteverdi's books of madrigals for the GLOSSA label).
This is an expensive set, however, you will probably never need to buy another John Dowland CD again after buying and listening to this collection.
I bought this CD set on a mild Summer evening of 1998 and listened to it while sitting in my sun room - which a glorious orange sunset in progress, and a glass of wine. It brought back so many memories.
a beautiful journey into melancholy.......2001-06-15
Dowland, a contemporary of Shakespeare, discovered that meditating on a sad theme is, at the same time, a way of discovering a special beauty that we tend to avoid (maybe because of the "tragic" heritage of the Romantics). So, in the end, meditating on sadness is an uplifting experience! This box set is a journey into melancholy that includes songs, chamber music, pieces for lute, some rare sacred music and -as a highlight- Dowland's beautiful collection of seven pieces for viola which he called "Lachrimae" (Tears).
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Mendelssohn: Elijah
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General
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ASIN: B0002XV31A Release Date: 2005-02-15 |
Tracks:
- Introduction: As God The Lord Of Israel Liveth
- Overture
- No.1 Help, Lord! Wilt Thou Quite Destroy Us?
- No.2: Lord! Bow Thine Ear To Our Prayer!
- No.3: Ye People, Rend Your Hearts
- No.4: If With All Your Hearts
- No.5: Yet Doth The Lord See It Not
- No.6: Elijah! Get Thee Hence
- No.7: For He Shall Give His Angels Charge Over Thee
- Recitative: Now Cherith's Brook Is Dried Up
- No.8: What Have I Do To Do With Thee?
- No.9: Blessed Are The Men Who Fear Him
- No.10: As God The Lord Of Sabaoth Liveth
- No.11: Baal, We Cry To Thee: Hear And Answer Us!
- No.12: Call Him Louder, For He Is A God!
- No.13: Call Him Louder! He Heareth Not!
- No.14: Lord God Of Abraham, Isaac And Israel!
- No.15: Cast Thy Burden Upon The Lord
- No.16: O Thou, Who Makest Thine Angels Spirits
- No.17: Is Not His Word Like A Fire?
- No.18: Woe Unto Them Who Forsake Him!
- No.19: O Man Of God, Help Thy People!
- No.20: Thanks Be To God!
Tracks:
- No.21: Hear Ye, Israel; Hear What The Lord Speaketh
- No.22: Be Not Afraid, Saith God The Lord
- No.23: The Lord Hath Exalted Thee
- No.24: Woe To Him, He Shall Perish
- No.25: Man Of God, Now Let My Words Be Precious
- No.26: It Is Enough; O Lord Now Take My Life
- No.27: See, Now He Sleepeth
- No.28: Lift Thine Eyes To The Mountains
- No.29: He, Watching Over Israel, Slumbers Not
- No.30: Arise, Elijah, For Thou Hast A Long Journey
- No.31: O Rest In The Lord
- No.32: He That Shall Endure To The End, Shall Be Saved
- No.33: Night Falleth Round Me, O Lord!
- No.34: Behold! God The Lord Passed By!
- No.35: Above Him Stood The Seraphim
- No.36: Go, Return Upon Thy Way
- No.37: For The Mountains Shall Depart
- No.38: Then Did Elijah The Prophet Break Forth
- No.39: Then Shall The Righteous Shine Forth
- No.40: Behold, God Hath Sent Elijah
- No.41: But The Lord, From The North Hath Raised One
- No.41a: O Come Everyone That Thirsteth
- No.42: And Then Shall Your Light Break Forth
Customer Reviews:
my opinion.......2007-08-01
Wonderful, but not my first choice.......2007-04-07
Fischer-Dieskau roughens up his voice for the role, and therein lies a problem. The voice spreads and his diction suffers because of it; that and his unidiomatic pronounciation, with far too many rolled "r"s. He does the drama well, but what works well in lieder works here less well on the large scale. Odd, given his success as on opera singer (check out his Iago), that here he frequently comes off blustery.
Dame Gwyneth Jones belies her reputation and gives a contolled, dramatic performance, using her "edge" to advantage in "Hear Ye, Israel". Gedda's diction is amazing, with exactly the right color for this literature, and projecting a little more blood than an English tenor.
Dame Janet Baker is my star in this performance. Dramatic, heart-rending when need be, and in wonderful voice. She'll chill your blood when she tells the people of Baal to "slaughter him, do what he hath done!".
And as for the people of Baal, the Philharmonia Chorus is wonderful. Incisive and dramatic, with beautiful tone. I could do without the trick of the boy choir for "Lift Thine Eyes", and I miss the small ensembles, but all in all a fine performance, and good recording, circa 1968.
First choice in English, Daniels/Terfel: better Elijah in Terfel, better recording, more authentic orchestra, small vocal ensembles (as per the score) but inferior women (including Fleming: beautiful tone, but where's her head?). In German, it's Sawallisch/Adam all the way.
But if you're singing Elijah, and have a score, this is a good choice.
THE BEST recording of the BEST oratorio ever..........2006-08-15
This recording is in every way wonderful. Starting with Dietrich Fischer-Dieskau. He IS Elijah to me. His singing is perfection. He has amazing phrasing and his diction makes it possible to understand the lovely, inspired libretto to this heavenly music. There are so many pieces that are ephemeral, but a couple of my favorites are: #14, Lord God of Abraham and #37, For the Mountains shall Depart. Dieskau does a great job of what I think of as compassionate, heartfelt singing. His interpretation sounds like the voice of God himself. It has a quality of kindness and yet he sounds just as convincing reprimanding the people of Baal. He is the true highlight of this recording.
That said, the rest of the cast is wonderful as well. Gwyneth Jones has a lovely, silvery voice that has a clarion bell-like tone that rings over the large orchestra with ease. She has occasional "misfire" but is a consistent performer. Dame Janet Baker and Nicolai Gedda both perform at a consistently lovely level. The orchestra and chorus are both wonderful. #15, Cast thy Burden upon the Lord, #32 He that Shall Endure to the End, and #38 Then Did Elijah are all highlights.
All said, for me the main reason to get this recording is Dieskau's Elijah- after all, he's the main character. But don't forget the lovely music. This story is exciting and passionate and sacred all at the same time. For me, it's the best oratorio that has a moving story and great music too.
Too bad there are so few recordings of Elijah.......2006-07-03
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Dowland: Complete Lute Works, Vol.1-5
Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD All Works by Dowland
| Dowland, John
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ASIN: B0000007HU Release Date: 1997-11-11 |
Tracks:
- A Piece Without Title - Dowland
- Pavana - Dowland
- Mr Knights Galliard - Dowland
- My lord willobies wellcome home - Dowland
- The frogg galliard - Dowland
- A Fancy - Dowland
- My Ladie Riches galyerd - Dowland
- The Lady Laitons Almone - Dowland
- A Dream (Lady Leighton's Paven) - Dowland
- Galliard - Dowland
- Orlando sleepeth - Dowland
- What if a Day - Dowland
- Mrs Winters Jumpp - Dowland
- Galliard - Dowland
- M. Giles Hobies Galiard - Dowland
- Dr Cases Pauen - Dowland
- Mellancoly Galliard - Dowland
- Galliard - Dowland
- Mistris Whittes thinge - Dowland
- Go from my windowe - Dowland
- Almain - Dowland
- Mrs Whites Nothing - Dowland
- Pavan - Dowland
- Galliard - Dowland
- Farewell - Dowland
Tracks:
- My lady hunnsdons puffe
- Solus cum sola
- Suzanna Galliard
- Sir John Smith his Almain
- Sweet Robyne
- Dowlands first galliard
- Master Pypers Pavyn
- Captain Digorie Piper his Galliard
- As I wen to Walsingham
- Monsieur's Almaine
- Mrs Brigide fleetwoods paven alias Solus sine sola
- Dowlands Galliard
- Farwell (As
- Captain Candishe his Galyard
- Aloe
- Can she excuse
- A Coye Joye
- Mrs vauxes Gigge
- Mrs vaux Galliarde
- Sir Henry Guilforde his Almaine
- Mignarda
- Lachrimae
- Sir John Souch his galliard
- Fantasia
Tracks:
- The most high and mightie Christianus, the fourth King of Denmark, his Galliard
- Sir John Langton his Pavin
- Mr. Langtons galliard
- A Fancy
- A Pavan
- The most sacred Queene Elizabeth, her Galliard
- Mrs. Cliftons Allmaine
- The Right Honourable the Lady Cliftons Spirit
- tarletones riserrectione
- Tarletons Willy
- fortune my foe
- The Queenes galliard
- Wallsingham
- A Galliard (on Walsingham)
- Dowlands Adew for Master Oliver Cromwell
- The Right Honourable Ferdinando Earle of Darby, his Galliard
- Lord Strangs March
- Mistresse Nichols Almand
- forlone Hope fancye
- Mr. Dowlands Midnight
- Semper Dowland semper dolens
Tracks:
- Preludium
- A Fancy
- Lachrimae
- Galliard to Lachrimae
- A Fantasia
- An Almand
- Pavana
- The Right Honourable Robert, Earl of Essex, his Galliard
- A Galliard (on a galliard by Daniel Bachelar)
- My Lord Wilobies Welcom Home
- The Shoemakers Wife. A Toy
- The Right Hounourable The Lord Viscount Lisle, his Galliard
- Coranto
- A Galliard
- The Lady Russells Paven
- Galliard (on Awake sweet love, set by Fr. Cutting)
- The Frog Galliard
- Come Away
- La mia Barbara
- Loth to Departe
Tracks:
- A Fancy
- Pavana Dowlandi Angli (Mylius #2)
- Doulands rounde battell galyarde
- Pavin
- The Erle of Darbies Galiard
- Mistris Norrishis Delight
- A Jig
- The Erle of Essex Galliard
- Galliard
- Une Jeune Fillette
- Gagliarda
- Pavana Lachrimae
- Squires Galliard
- A Fancy
- Hasellwoods Galliard
- Sir Thomas Monson, his Pavin
- Sir Thomas Monson, his Galliard
- Almande
- Sir Henry Umptons Funerall
- Captayne Pipers Galliard
- A fantasie
Amazon.com
Dowland did for lute music what Haydn did for the string quartet and Beethoven the piano sonata. The finest lutenist and songwriter of his age--he composed several of the greatest hits of the late 16th and early 17th centuries--the surviving lute works constitute a sort of encyclopedia of the possibilities of the instrument. There are song arrangements, dance pieces, tributes to the composer's friends, even a musical self-portrait. Much of the music is fashionably sad. Lute songs generally deal with the agony of lost love, and Dowland's most popular tune was called Lachrimae (Tears). Paul O'Dette is simply the best lutenist alive. These five discs are available together at a special price, or separately. A reference edition. --David HurwitzCustomer Reviews:
Outstanding.......2007-03-31
It's not heavy breathing.......2006-08-22
Others have remarked on the "heavy breathing" noticeable on the recordings -- it's not heavy breathing, but the movement of his fingers on the gut strings making that sound.
Technically good, emotionally bland. .......2006-04-11
but especially in the US, this set becomes an essential "must have" for all lovers of the lute.
Yet it somehow disappoints.
I am sure that Paul O'Dette is brimming over with virtuousity and a technical expertise
that I am hardly one to pass sound judgement upon.
But the recordings have a flatness and monotony;
the songs are rendered with precision, but seem to lack feeling, empathy, or enthusiasm throughout the offering.
It is an impressive compendium, and I'm glad I purchased it.
There are very few lutenists out there producing any music at all, so Mr. O'Dette should certainly be praised
for delivering such a substantial feast to our ears.
It just should have had more flavor.
Where is Konrad Ragossnig when you need him?
Highly recommended.......2005-10-23
A few tunes appear more than once as Dowland reused some work, but the arrangements are sufficiently different to be interesting. It is his complete lute works, after all. Some might criticise the set for sounding too much in the same style. It is the work of one composer, and if you happen to like the style, as I do, this is a pro rather than a con.
Another reviewer mentioned obtrusive breathing on the recording. I had listened to Volume 1 for two years before reading the review and had not noticed this. On listening carefully, there is breathing audible, but I do not find it a problem. Perhaps it depends whether one listens to the music or the background.
just a warning..........2005-10-14
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Music for Trumpet and Organ
Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
| Bach, Johann Sebastian
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ASIN: B00006JC6U Release Date: 2003-02-04 |
Tracks:
- Variations On 'Mein Junges Leben Hat Ein End'
- Allemande From Partita II, BWV 1004
- Musike From 'King Arthur'
- Musike From 'King Arthur'
- Musike From 'King Arthur'
- Musike From 'King Arthur'
- Shenandoah
- Elegy
- Semaine Sainte A Cuzco
- Vocalise-Etude, Pour Voix Elevees
- Okna, Podle Marca Chagalla
- Okna, Podle Marca Chagalla
- Okna, Podle Marca Chagalla
- Okna, Podle Marca Chagalla
Customer Reviews:
Wonderfully Addictive CD!.......2006-02-08
I finally got it yesterday. I decided to put it in my CD player, and take it in while reading the program notes she included in the CD jacket. Wow, what a performance!
Ms. Balsom plays everything from Sweelinck's "Variations on 'Mein junges Leben hat ein End'" to Petr Eben's "Windows" with a sweet and captivating tone, and with virtuosic technical ability to match. Her performance on the "suite" of excerpts from Act IV of Purcell's "King Arthur," played on the baroque trumpet (basically a trumpet with no valves) was especially remarkable; and her performances of "Shenandoah" and George Thalben-Ball's "Elegy" on the flugelhorn were incredibly passionate. She captures the emotion of the pieces well.
Whether your interests are in late Renaissance or Baroque music, 20th century music, or anything in between; it's on this CD. And it's all played incredibly well. I would recommend reading her program notes that accompany the CD, they really add a lot to her performance.
![The Magic of Wunderlich [Includes Bonus DVD]](http://ec1.images-amazon.com/images/I/31VRMWNPVPL.jpg)
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The Magic of Wunderlich [Includes Bonus DVD]
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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All Works by Handel
| Handel, George Frideric
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ASIN: B000AC5B20 Release Date: 2005-10-11 |
Tracks:
- Finstre Furien, Ihr Geister Der Holle (Crude Furie Delg'orridi Abissi)
- Wenn Der Freude Tranen Flieben
- Dies Bildnis Ist Bezaubernd Schon
- Lebe Wohl Flandrisch Madchen
- Nadir, Du Stehst Wirklich Vor Mir - Und In Des Tempels Grund (C'est Toi, Toi Qu'enfin Je Revois - Au Fond Du Temple Saint)
- Wohin Seid Ihr Entschwunden (Kuda, Kuda, Kuda Vi Udalilis)
- Ich Denk Ihn Lieber Mir Von Meinem Statde - Liebe Ist Seligkeit, Ist Licht Und Leben (Signor Ne Principe Io O Vorrei - E Il So Dell'anima, La Vita E Amora)
- O, Lass Uns Fliehen Aus Diesen Mauern (Parigi, O Cara, Noi Lasceremo)
- Und Es Blitzten Die Sterne (E Lucevan Le Stelle)
- Wenn Es Abend Wird - Grub Mir Mein Wein
- Wien Wird Bei Nacht Erst Schon
- Heute Nacht Oder Nie
- Ein Lied Geht Um Die Welt
- Be My Love
- Granada
Tracks:
- Nun Schwanden Vor Dem Heiligen Strahle/Verzweiflung, Wut Und Schrecken
- Mit Wurd' Und Hoheit Angetan
- Ma Qual Mai S'ofre, Oh Dei - Fuggi Crudele
- Come Mai Creder Deggio - Dalla Sua Pace
- Amici Miei - Il Mio Tesoro Intanto
- Nur Einen Wunsch, Nur Ein Verlangen (Unis Des La Plus Tendre Enfance)
- O Unverhofftes Gluck - Das Hore Ich Von Dir, Von Meinem Freunde? (O Moment Trop Heureux! - Et Tu Pretends Encore Que Tu M'aimes?)
- Hier Nimm Den Ring Der Treue (Prendie: L'anel Ti Dono)
- O Schweige Still, O Lasse Dich Erbitten (Ne Parle Pas, Rose, Je T'en Supplie)
- Doch Nun Zu Dir - Trenne Nicht Das Band Der Liebe
- Di Rigori Armato Il Seno
- Heimliche Aufforderung Op.27 No.3
- Ich Trage Meine Minne Op.32 No.1
- Standchen Op.17 No.2
- Zueignung Op.10 No.1
- Morgen Op.27 No.4
Customer Reviews:
Delightful!.......2007-01-19
A Great and Varied Collection.......2005-12-19
Wunderlich's voice is one that can be light and airy at times, yet it can also have a dramatic intensity. This two disc set includes a variety of pieces that display Wunderlich's wide range and great vocal talent. His excerpts from Mozart are perhaps his strongest. So often the tenor roles in Mozart operas are cast with performers who are agile and can reach the higher notes, but their voices are somewhat weak. Wunderlich shows just how beautiful these arias can be. The same holds true for his arias from EUGENE ONEGIN and the pieces from well known operettas. His "Au Fond De Temple Saint" performed with Hermann Prey (a dream team pairing if there ever was one) is close to the Bjorling/Merrill rendition. We see his versatility in the excerpt from Haydn's CREATION and the live performance of "Di Rigori Armato" from DER ROSENKAVALIER is a treat and allows the listener to compare his live and studio recordings. The bonus DVD has a few slight flaws, but we see, at least in the scenes from THE BARBER OF SEVILLE that he not only has a wonderful voice but a good stage presence as well.
Most of the tracks are performed in German, even the Bellini, Bizet, and Verdi tracks, as was the case in many of the recordings of famous German singers. This may detract at first, especially of we expect to hear gorgeous French singing and it comes out, well German sounding. Still, it's a wonderful set with great variety and shows us what we missed in this tenor whose career had just begun.
MAGIC is a good word to describe Fritz Wunderlich.......2005-11-08
Many of the tracks are not new to CDs: I'd say 50% of them are also in the "Art of Fritz Wunderlich" set (DG, 7 CDs), including Handel, Mozart, Bellini, and other opera arias. There are 3 tracks from "Don Giovanni" which I had not encountered elsewhere, and a scene from Richard Strauss's "Der Rosenkavalier" + 5 Strauss Lieder (with orchestra) not previously released in recent years.
Wunderlich was never less than the very best, and here is no exception. The bonus DVD has almost 30 minutes of scenes of Wunderlich (Count Almaviva) in Rossini's "Barber of Seville", sung in German with Hermann Prey (Figaro) and Erika Koth (Rosina) from a 1959 black and white TV production, in very good mono sound; and two scenes from Tchaikovsky's "Eugene Onegin", also sung in German, and with a young Brigitte Fassbaender (a little more hiss but very good, full, rich mono sound). The Rossini is available from English sources, and hopefully will be available in the US soon.
Like conductor Karl Bohm (1894-1981), I'm going to try to get as much Fritz Wunderlich material as I can find, CD or DVD, as is practical (and even when it isn't!).
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Round About Weill
Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD All Works by Weill
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ASIN: B0007DHQ34 Release Date: 2005-04-19 |
Tracks:
- Dov'e La Citta
- Ach, Bedenken Sie, Herr Jack O'Brien
- Tango Ballade
- Improvvisamente
- Divagazioni Su 'Youlkali'
- Mahagonny, Scene 6
- Ein Taifun!...Tifone? No, Pioggerella
- Lieben
- Boxen
- Round About Weill I/Denn Wie Man Sich Bettet, So Liegt Man
- Mahagonny, Scene 13
- Essen
- Round About Weill II
- Tief In Alaskas Schneeweissen Waldern
- Ach, Bedenken Sie, Herr Jack O'Brien, Var
- Mahagonny, Scene 4
- Aber Dieses Ganze Mahagonny
- Alabama Song
- Mahagonny, Scene 6, Var.
- Alabama Song, Var.
- Interludio 'Ma Che Modi Sono?...': Cumparsita Maggiorata
- Interludio 'Ma Che Modi Sono?...': Tristezze Di Fra' Martino
- Denn Wie Man Sich Bettet, So Liegt Man, Var.
Customer Reviews:
HIDDEN JEWELS.......2006-04-22
Gianluigi Trovesi (clarinets) & Gianni Coscia (accordion), In Cerca di Cibo (5*)
Gianluigi Trovesi is a hidden jewel in today's jazz. Perhaps he's undersung because he's Italian: he performs and records in Italy, not in American jazz clubs or for a central American jazz label. Maybe, on these two albums, it's because some afficionados look down on the "European" clean jazz typical to ECM records. Above all, I suspect it's because the music he plays --though not the way he plays it-- is hard to classify.
Take these two albums. Are they jazz? Italian folk music? Composed or 'classical' music? Trovesi and Coscia mesh as well as any duo in jazz --think of the exquisite music made by duos such as Charlie Haden and Kenny Baron, Jim Hall and Ron Carter, or Gary Burton and Chick Corea on Crystal Silence. But the music Torvesi and Coscia produce on these two albums is devilishly difficult to classify. Sometimes they settle for composed lines, heartbreaking melodies played simply, simply. At other times, they clearly improvise, but seldom on recognmizable jazz lines. They are demons --Trovesi especially-- at quoting wildly from other pieces: they close one piece on the Weill album with "Blue Moon," another time with (almost) "Frere Jacques." But it's jazz nonetheless, played by two hyper-alert and super-intelligent musicians who mine their musical ancestry to consummate effect.
Of the two albums, my wife has a very slight preference for the Weill album, which is made up half of tunes written by Weill and most of the rest of the artists' own tunes that fit the mood of Weill. Both clarinet and acordion capture well the cabaret atmosphere of so many Weill tunes, including different versions of "Alabama Song" and "Tango Ballade."
On the Weill album, Trovesi continues his fascination with John Lewis's "Django," the moving funeral dirge for French gypsy guitarist Django Reinhardt first recorded by the Modern Jazz Quartet. (Trovesi plays "Django" on In Cerca di Cibo and quotes it on Around Small Fairy Tales.) This is appropriate because in some respects, Trovesi is like Lewis, though much hotter and more earthy at times. Both composed and have led groups that played music that critics saw as too 'classical.' Both used non-jazz idioms for jazz purposes.
I own five albums by Trovesi now, which is all I've been able to find and buy to date. Around Small Fairy Tales features Trovesi playing his own compositions with a string orchestra. From G to G and Fugace feature his octet, which sounds at times like a slightly woozy stepchild of the great George Russell experimental groups of the very early sixties. In an age that slights the clarinet as a solo instrument, Trovesi is arguably the best clarinetist in jazz, a major soloist and melodist.
I love this man and he's never sounded better than playing with Coscia. Needless to say, these two ECM albums are impeccably engineered for sound.
Dave Keymer
Innovative and dreamlike.......2005-10-24
This is amazing.......2005-07-02
magical music.......2005-05-03
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The Intimate P.D.Q. Bach
Manufacturer: Vanguard Records ProductGroup: Music Binding: Audio CD Bach, P.D.Q.
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ASIN: B000000EL0 Release Date: 1990-01-25 |
Tracks:
- Hansel And Gretel And Ted And Alice - John Ferrante/Professor Peter Schickele/David Oei
- Toot Ste: The O.K. Chorale - David Oei/Professor Peter Schickele
- Spoken Intro: 'Erotica' Vars - The Intimate P.D.Q. Bach
- Spoken Intro: The Art Of The Ground Round - John Ferrante/John Ferrante/John Nelson/Professor Schickele/Peter Rosenfeld/Arthur Weisburg
Customer Reviews:
Multiple-personality opera.......2007-01-20
"Bargain-counter" tenor John Ferrante had a voice and talent like no other. The initial success of Schickele's efforts are due in large part to Ferrante's unique vocal contributions.
"Hansel And Gretel And Ted And Alice" is a superlative work-- a one act comic opera with seven characters, performed by Ferrante and Schickele, along with a solo piano. The play is by turns jolly, convoluted, silly, "shocking," but always melodious. In the opera's finale, the two performers are required to sing FOUR parts almost simultaneously, a feat complicated by Schickele's deftly donning and removing a wolf's head to play his two characters. Visually, this piece was an hysterical sight.
What can be said about the "O.K. Chorale"? The calliope-four-hands has never sounded as sweet.
The intro to the "Erotica Variations" is nearly as hilarious as the music itself. That the instruments involved were "banned" is a gift to us all!
"The Art Of The Ground Round" is the one selection from this album that everyone seems to remember. This is due in large part to punnish and impudent lyrics-- and our natural love of Row, Row, Row your boat-type group sings.
THE INTIMATE P.D.Q. BACH is highly recommended for all classical music lovers, fans of madcap comedy, and anyone who happens to live in Hoople, North Dakota.
TOTAL RUNNING TIME -- 50:14
5 stars not enough!.......2005-08-11
Hilarious.......2005-07-09
"Hansel and Gretel and Ted and Alice" is billed as an opera in one unnatural act. It is silly and irreverent. It is also fun.
"The O.K. Chorale" is a lampoon of "The Sheep May Safely Graze" with "Swing Low Sweet Chariot" and others thrown in for comic effect. It is played on "calliope".
"Erotica Variations" is lifted from Beethoven's "Heroica". It features some rather obscure instruments that, hopefully, will not have anything else written for them.
"The Art of the Ground Round" is one of my all time favorites. It is a series of rounds or canons. As the voices start to overlap, a completely new set of lyrics appears.
These "compositions" may offend serious music lovers. For any one with a sense of humor about pretentious music it is a must.
Ferrante's fruity-tooty duty is his dooby dooby doo.......2004-11-16
GROUND ROUND's 3 tenors are John Ferrante, John Nelson, & The Schick. And every time I hear it, I come to it with an automatic prejudice that favors Ferrante's singing. But then I get subjected to John Nelson's luscious voice and it causes me to reconsider my favoritism. (Schickele's voice is 2000 light-years from contention.)
A must have for PDQ Bach fans.......2000-03-01
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The Chicago Recordings
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Ballets
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ASIN: B0001ZMBV0 Release Date: 2004-06-15 |
Tracks:
- I. Langsam, Schleppend, Wie Ein Naturlaut
- II. Kraftig Bewegt, Doch Nicht Zu Schnell
- III. Feierlich Und Gemessen, Ohne Zu Schleppen
- IV. Sturmisch Bewegt
- Combat And Tumult - Interview Of The Prince
- Romeo Alone - Melancholy - Distant Noises Of Music And Dancing - Festivities At The Capulets'
Tracks:
- Scherzo: Queen Mab, Or The Dream Fairy
- Love Scene - Night - The Capulets' Garden
- Romeo At The Tomb Of The Capulets - Invocation - Juliet's Reawakening - Frenzied Joy, Despair - Last Agonies And Death Of The Two Lovers
- I. Poco Sostenuto - Vivace
- II. Allegretto
- III. Presto - Assai Meno Presto - Presto - Assai Meno Presto - Presto
- IV. Allegro Con Brio
Tracks:
- I. Felerlich, Misterioso
- II. Scherzo (Bewegt, Lebhaft) - Trio (Schnell) - Scherzo (Da Capo)
- III. Adagio (Langsam, Felerlich)
- I. Allegro Non Troppo
Tracks:
- II. Andante Moderato
- III. Allegro Giocoso
- IV. Allegro Energico E Passionato
- Introduction
- Dance Of The Firebird
- Round Dance Of The Princess
- Dance Of King Kastchel
- Berceuse
- Finale
- Russian Dance
- Petrushka's Room
- The Moor's Room
- The Shrovetide Fair
Amazon.com
The recordings that Giulini made with the Chicago Symphony between 1969 and 1976 document an extraordinary partnership and remain among the finest of the conductor's career. Giulini's Mahler First is more lyric than most, yet with enough energy to satisfy Mahlerians; the last movement a tribute to the conductor's unerring sense of orchestral balances even in crushing climaxes. His rendition of the orchestral movements of Berlioz's "dramatic symphony" Romeo and Juliet excels in its poetry, the warmly caressing Chicago strings in the Love Scene irresistible. The Beethoven Seventh is an eloquent blend of the Dionysian and Apollonian approaches to this "dance symphony," with glowing horns, driving rhythms and lovely solo turns. Giulini's later remakes of the Beethoven and other works in the set often were soporific; here, he's on target. This Bruckner Ninth, for example, is grandly rhetorical but full of passion. The Brahms Fourth is a highly personal account, with a ravishing slow movement, while the Stravinsky ballet suites reveal the Chicagoans at their most refined; the Firebird exquisitely colored, Petrushka, amazingly precise. Classic recordings, well transferred; a bargain that shouldn't be missed. --Dan DavisCustomer Reviews:
A mixed bag from Giulini.......2006-12-14
Thanks to EMI ; Thanks to Amazon. .......2005-10-14
CSO on its top form under the baton of Giulini...Very well recorded sounds by EMI...Wonderfull edition(not cardboard!)...Incredible price for 4 CD... Highly,highly,highly recommended...
A nostalgic return to an outstanding period for Giulini.......2005-10-09
But as one hears on this excellent but not great collection, Giulini's Mahler is not as exciting as Bernstein's, his Berlioz not as gripping as Colin Davis's, his Brahms not as full of integrity as Klemperer's or Karajan's. He stood well below those great condcutors for much of his career, and yet Giulini was undoubtedly special. He just continued throughout his career to be spotty. His Bruckner Seventh on a live BBC recording is spectacular, even better than his inward, mystical recordings of the Burckner Eighth and Ninth for DG. I greatly admire his DG Schumann Rhenish Sym., his Erocia and Beethoven Fifth, and a live War Requiem and Schubert Ninth, both on BBC--while also acknowledging that he made many other recordings that didn't touch greatness.
I think Giulini had greatness in him, but there was some inner chemistry that had to fire, and even he didn't know when that would happen. In this regard he was like Klaus Tennstedt, who was even more erratic.
Giulini should have given us a great Mahelr Ninth and Das Lied von der Erde, but he didn't. HIs Missa Solemnis and Beethoven Ninth should have been towering spiritual achievements, but they are actually almost routine by great conductor standards. Sadly, he had no sublime autumn to his career; the late recordings on Sony and DG are distressingly slack and ponderous, often parodying his famous spirituality on the podium.
I think eveyrthing in this bargain set is of a high standard, not Giulini at his very peak but close.
Splendid EMI Commemorative of Giulini and CSO.......2005-02-22
Genius Well Served.......2004-10-07
Giulini performances mesmerized listeners from the opening downbeat, and the spell was rarely broken. Every phrase was shaped, yet sounded entirely natural. The music breathed as if driven by the human soul, rather than by the inanimate metronome. No detail was too small, yet the whole was not lost. The sound had an inner glow, with the viola and cello parts bathing the top and bottom lines with color and warmth. Lyrical passages flowed with a transcendent beauty; fiery sections cut the air with knife-edged precision and power. Climaxes accomplished their purpose without skewing orchestral balances. Through it all, players eagerly and lovingly responded to Giulini's overarching request: "Touch the heart."
Because of his sensitivity to the music's architecture, Giulini preferred to record entire movements in a single take. As such, his performances should be experienced in context, i.e., from beginning to end. Also, Giulini's extraordinary attention to detail is best appreciated in a suitably quiet setting, and on excellent sound equipment.
Giulini sought to make every moment of every performance meaningful and memorable. He loathed the mundane in music-making, and saw his role as "serving genius." Giulini interpretations often left listeners with the sense that they had just heard a great masterpiece for the first time.
"There was never any show about him," longtime Philharmonia Orchestra violinist Gillian Eastwood told WFMT Radio and EMI Classics as part of a four-hour documentary celebrating the now-retired conductor's ninetieth birthday in May 2004. "He was genuine, he was sincere in his music, he worried about everyone individually. The likes of him we shall never, ever see again."
Which is all the more reason to treasure these performances for the ages.
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Henry Purcell: Ayres for the Theatre
Manufacturer: Sony ProductGroup: Music Binding: Audio CD Purcell, Henry
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ASIN: B000002ANU Release Date: 1995-05-30 |
Tracks:
- Dioclesian: Overture
- Dioclesian: Preludio
- Dioclesian: Song Tune: 'Let The Soldiers Rejoice'
- Dioclesian: Trumpet Tune
- Dioclesian: Country Dance
- Dioclesian: Aire
- Dioclesian: Hornpipe
- Dioclesian: Aire
- Dioclesian: Canaries
- King Arthur: Overture
- King Arthur: Aire
- King Arthur: Aire
- King Arthur: Song Tune: 'Fairest Isle'
- King Arthur: Hornpipe
- King Arthur: Aire
- King Arthur: Song Tune: 'How Blest Are Shepherds'
- King Arthur: Aire
- King Arthur: Song Tune: 'Round Thy Coast'
- King Arthur: Song Tune: 'Come, If You Dare'
- King Arthur: Trumpet Tune
- King Arthur: Trumpet Tune
- King Arthur: Chacone
- The Fairy Queen: Overture
- The Fairy Queen: Hornpipe
- The Fairy Queen: Aire
- The Fairy Queen: Aire
- The Fairy Queen: Rondeau
- The Fairy Queen: Preludio
- The Fairy Queen: Hornpipe
- The Fairy Queen: Overture
- The Fairy Queen: Song Tune: 'If Love's A Sweet Passion'
- The Fairy Queen: Jigg
- The Fairy Queen: Dance for Furies (Fairies)
- The Fairy Queen: Aire 4 In 2 (Dance For The Followers Of Night)
- The Fairy Queen: Song Tune: 'Sing While We Trip It'
- The Fairy Queen: Aire
- The Fairy Queen: Aire
- The Fairy Queen: Song Tune: 'Thus Happy And Free'
- The Fairy Queen: Chacone
- The Fairy Queen: Aire
- The Indian Queen: Overture
- The Indian Queen: Trumpet Tune
- The Indian Queen: Trumpet Tune
- The Indian Queen: Aire
- The Indian Queen: Hornpipe
- The Indian Queen: Aire
- The Indian Queen: Hornpipe
- The Indian Queen: Aire
- The Indian Queen: Song Tune: 'WeThe Spirits Of The Air'
- The Indian Queen: Rondeau
Customer Reviews:
a beautiful CD.......2003-11-26
Average customer rating:
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Purcell: Suites and Transcriptions for Harpsichord
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Purcell, Henry
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ASIN: B0000014FW Release Date: 1998-09-16 |
Tracks:
- Ste No.1 in G, Z.660: Prld
- Ste No.1 in G, Z.660: Almand
- Ste No.1 in G, Z.660: Corant
- Ste No.1 in G, Z.660: Minuet
- Ov in Gamut flat, Z.T693 (The Virtuous Wife)
- Ste No.2 in g Z.661: Prld
- Ste No.2 in g Z.661: Almand
- Ste No.2 in g Z.661: Corant
- Ste No.2 in g Z.661: Saraband
- Chaconne in g, Z.T680 (Timon Of Athens)
- Ste No.3 in G, Z.662: Prld
- Ste No.3 in G, Z.662: Almand
- Ste No.3 in G, Z.662: Courante
- A New Ground in e, Z.T682
- Ste No.4 in a, Z.663: Prld
- Ste No.4 in a, Z.663: Almand
- Ste No.4 in a, Z.663: Corant
- Ste No.4 in a, Z.663: Saraband
- Ov in C (Bonduca Z.574/1)
- Ste No.5 in C, Z.666: Prld
- Ste No.5 in C, Z.666: Almand
- Ste No.5 in C, Z.666: Corant
- Ste No.5 in C, Z.666: Saraband
- Ov in D, Z.T692 (The Fairy Queen)
- Ste No.6 in D, Z.667: Prld
- Ste No.6 in D, Z.667: Almand
- Ste No.6 in D, Z.667: Hornpipe
- Ov in d, Z.628/2 (King Arthur)
- Ste No.7 in d, Z.668: Almand 'Bell-Barr'
- Ste No.7 in d, Z.668: Corant
- Ste No.7 in d, Z.668: Hornpipe
- Round O (Abdelazer) Z.684
- Ste No.8 in F, Z.669: Prld
- Ste No.8 in F, Z.669: Almand
- Ste No.8 in F, Z.669: Courante
- Ste No.8 in F, Z.669: Minuet
- Alternative Prld in g For Ste No.2
- Alternative Prld in a For Ste No.4
Customer Reviews:
Very pleasant listening.......2004-06-26
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