| 1. Oti Nikan |
| 2. Niwiciwakan |
| 3. Bill C-31 Blues |
| 4. Weyaho |
| 5. Rez Sister |
| 6. Maskawsiwin |
| 7. Iskwesis |
| 8. Little Angerl |
| 9. Rattle Dance |
| 10. Maskwa's Journey |
| 11. Goodnight Song |
Editorial Reviews
About the Artist
Asani transcends musical genres with their beautiful sound. A contemporary a cappella Aboriginal womenis trio from Canada, Asani carries with them the influences of First Nations and Metis music. Their repertoire is comprised of original compositions in Woodland Cree and English.
It also contains new tracks but in their live versions.
I will not rate this cd songs by songs, I will only tell you that I just love this one and review some of them.
The voice of Bono in "Hawkmoon 269" is simply amazing.
I just love "Angel of Harlem", very good songs ! "Love rescue me" is highly emotionnal, "When love comes to town" is a very good blues track with B.B.King, "Heartland" and "God part II" are great and "All I want is you" is one of my favorite U2 songs. A must have cd.
However, I sometimes think that Rattle and Hum cost U2 dearly. Since U2 did so many cover songs from rock legends like The Beatles, Bob Dylan, and Jimi Hendrix, many people perceived this album to be "self important" and "conceited." By covering those famous artists, it was like U2 were saying: "Look, we're in the same category as The Beatles or Bob Dylan.
Perhaps if U2 had not taken such a self indulgent approach to this album, people would like them even more than they already do...which is a lot really.
LOVE RESCUE ME: co-written by Bob Dylan, the man who encouraged U2 to discover and explore their musical roots in the first place. This hushed and heartfelt masterpiece contains some of the most brilliant and confessionary lyrics you'll ever hear. The only question is whether it's Bono or Bob doing the confessing.
HEARTLAND: Another gorgeous slow-burner, this one harkening back to their more ethereal Unforgettable Fire sound.
GOD PART II: The direct precursor to 1990's The Fly - ominous, scathing, and ultra-modern.
BULLET THE BLUE SKY (LIVE): Starring Bono's famous "Well, the God I believe in isn't short on cash...Mister!" speech. Another choice rant is captured in the live version of their great b-side, SILVER AND GOLD. "Am I buggin' you? Didn't mean to...bug ya. Edge, play the blues!!!"
ALL I WANT IS YOU: Strong contender for greatest U2 tormented-love-anthem, alongside whoppers like One, Stay, With or Without You & So Cruel. Also features what may be the single most emotionally charged electric guitar solo ever performed.
My only complaint is that they should have released it as two separate albums - one live and one studio. The mix makes for a somewhat disjointed listen, but the quality of the songs and performances is off the charts. Bono, especially, is at his peak on this album, belting out drop-dead brilliant lyrics with matchless enthusiasm and confidence.
RATTLE & HUM was maligned by hipsters when it came out, but it was - and still is - a genuine rock spectacle for the ages.
For other excellent Shakespeare soundtracks, try Jocelyn Pook's The Merchant of Venice--which is even more fascinating than this CD is--and the uplifting Much Ado About Nothing composed by Patrick Doyle. Try also to order an out-of-print copy of the two-CD set Shakespeare at the Movies.
A minor problem is in the balance of the solo voices. EMI has the solo voices to close in the final mix. This at times can bring a degree of harsness in their singing that might not be there had the voices been mixed more "naturally" as you would hear in a concert hall. The way companies mix soloist such as singers or instrumentalists is a problem as they tend to over mix the soloist rather then balance the sound somewhat more distance in the final mix as you would hear in the concert hall.
Other than how the solos are to closely mixed in the sound picture this is a very fine performance.
The chorus, for one. The Berlin Rundfunkchor sounds bloodless and harsh: both because of its size (much smaller than what Brahms would have expected) as well as its overall sound, which is a good deal more "British" than the warm resonance of a group like the RIAS Kammerchor--which is more often the chorus the Berlin Philharmonic calls on. Now we know why.
But the problem also lies with Rattle, who essentially abdicates any sense of direction once he gets to the contrapuntal sections. He simply sets a fast but inert tempo and phones it in.
This combination of the bloodless choir and the bloodless conducting is all the more disappointing because it's juxtaposed with some wonderfully rich orchestral playing. Whoever says this ensemble has lost its deep, "Germanic" sound should listen to this recording as proof to the contrary.
Both Quasthoff and Roeschmann spread a bit in their top range, and both have a few difficulties shaping longer phrases--but I've never heard this from them before, which makes me suspect it's more a one-time thing. Otherwise, though, they're wonderful, and together with the orchestra they provide some needed warmth to a performance that--so uncharacteristically of Rattle--could use all the vitality it can muster.
And the performance itself? Rattle avoided Brahms for twenty years on records and has turned to it late, no doubt out of a sense that his position in Berlin calls for it. One detects a certain lack of religious intensity in the opening movements, which is strongly at odds with Brahms's fervent Protestant intent. There's no lift, no soaring lyricism when harmonies shift upward. The timpani underlying the second movement should sound like the approach of fate--this is a work about death--but here it sounds merely like a drumbeat.
One could say that Rattle is giving us a lighter, less haunted approach than usual, not as perky perhaps as period performances from Gardiner and Herreweghe, but lacking the world-shaking grandeur of Klemperer. For many listeners the chief attraction will be the great Thomas Quasthoff, a totally convincing singer of Brhams lieder. The Gramohone reviewer grumbled that Quasthoff was having a bad night, but that would be an outstanding night for any other baritone. In fact his voice lacks a certain stability of tone at loud volume here, but he is never less than a passionate, riveting soloist, for me the best to be heard in the wonderful third and sixth movements since Hans HOtter for Karajan in the early postwar years. Rattle follows Quasthoff's lead, giving us freer expression and hushed spiritual intimacy from the chorus--this is the cry of souls coming face to face with mortality on Judgment Day.
I am not a particular fan of Dorothea Roschmann, who nevertheless gets a lot of plum jobs in opera and choral works nowadays. Here she is up against the likes of Schwarzkopf and Battle, whose singing of the Traurigkeit movement is exquisite. Roschmann can't match them for vocal purity, but she is emotionally gripping, which counts for a lot, and Rattle speeds up the movement, making it vocally less teacherous for her. Throughout the German Radio Choir, which I assume is professional or nearly so, sings quite accurately and with pure tone.
In all, this reading is a mixed bag. I don't think I really buy that Rattle is sympathetic to Brahms's religious feelings, but he is certainly skillful at extracting a convincing performance musically, and Quasthoff is a joy.
Like his recent Schubert Great C Major, this is in many ways an old fashioned performance. Tempi are broader than we get from more `authentic' modernists like John Eliot Gardiner, Roger Norrington and the like, textures are richer and warmer, it comes through as an altogether grander work. Brahms determined to write a very untraditional Requiem, not just in his choice of texts but in his focus on the bereaved who are left behind rather than the traditional prayers for the dead themselves. It was, after all, written soon after his mother's death and the central movement, `Ihr habt nun Traurigkeit', is a tender and moving memorial to her. Rattle reflects this humanity in his performance: it is perhaps the most humanist German Requiem since Kempe's wonderful performance with the same orchestra.
I don't want to leave the impression that this is an over-sombre, stodgy performance, though. Far from it. Those moments when the clouds clear and the sun comes out and the music starts to stir with life, movement and liveliness suit Rattle's ability to lift and energise a rhythm well. The fourth movement becomes almost a lilting waltz at times, a heavenly dance if you like. The big fugal passages with their strong undertow of typical Brahmsian pedal points have great energy and thrust. Even the imposing, deliberate tread of the `Alles Fleisch' funeral march always retains focus and purpose.
The performers are an impressive lot. The orchestra again shows itself to be in the very front rank, investing textures with colour and shape, phrasing solos with individuality while remaining consistent with the whole. The choir are exceptional: this is glorious, wonderfully disciplined choral singing. Roschmann is an ideally tender soprano soloist in that central, consolatory movement. Quastoff is eloquent as always, but do I detect just the first signs of wear and tear in the voice creeping in? Is there just a tad more spread to the tone when it's put under pressure than there used to be? It is nevertheless a fine performance. Perhaps neither soloist quite lives up to the perfect ethereal beauty of Grummer or the drama of Fischer-Dieskau on the Kempe recording, but they are certainly good enough to see off most of their modern rivals.
As a performance, the Kempe remains something very special. Among modern recordings, this new one is up there with the very best. Gardiner is worth exploring for a refreshingly brisker cleaner view: but for a more traditional take on the work this new Berlin performance is well worth hearing.
I heard the St. Louis Symphony womp this puppy out at Carnegie Hall and it's just as great on this CD by Rattle et co. Vast, intricate, sailing, imaginative.
Buy it.
think I'll just go back and listen to it again. Care to join me ?
For inclusiveness Rattle has elected excerpts from one of Adams operas, 'Nixon in China', in the facile and gently humorous yet tender 'The Chairman Dances', foxtrot for orchestra. For sheer showmanship there is the 'Tromba Lontana, fanfare for orchestra', and the often performed 'Short Ride in a Fast Machine, fanfare for orchestra'.
But the glory of the recording of course is the magnificent orchestral 'symphony' from 1984-85, the 'Harmonielehre'. Though this work has multiple recordings, not the least one being the premiere recording with Edo de Waart and the San Francisco Symphony, Simon Rattle brings to the work his usual insight into architecture that allows the listener to appreciate the splendors of each of the three sections.
But this listener, though long a champion for this masterwork, was still amazed to hear just how magnificently composed is 'Harmonielehre', hearing a live performance with John Adams conducting the Los Angeles Philharmonic. The acoustic of Disney Hall allowed the huge percussion section of drums, gongs, bells, keyboards, triangles, etc and manipulations of each of these sections in the odd ways in which Adams achieves his effects to truly shine. Watching the performance enhances the auditory splendor. Rarely has the emotionally loaded aspect of the work been so revealed. One can only hope that Adams will record this performance to share the miracle. Grady Harp, April 06
For the Cooke version, I'm still a big fan of the old Ormandy recording. But if you own a DVD-A player, it may well be worth investigating the Rattle on a DVD-A disc. If you wish to explore beyond Cooke, as an addendum, you couldn't do better than the outstanding Litton/Dallas S.O./Delos recording of the wild and wooly Clinton Carpenter version. Yes, Carpenter over-extends himself; stepping deep into the sound world of Alban Berg. But once you get used to it, his remains the most satisfying - in terms of the work's narrative - and idiomatic sounding "completion" of the lot. He simply captures more of the ebb and flow of Mahler's extreme emotions and mood shifts (this was a rough period for him, shall we say).
The performance in my ears sounds more 'raw' and with more 'attack' than any other recording of this music, the result of Sir Simon Rattle's tendency to make the most of all the many contrasts and sudden tempo changes, and to make every instrumental sound stand out in the orchestral soundpicture as clearly as possible. Fire and ice. Although this could also be caused by the rather direct and clear, but somewhat thin recording as such. With this specific music, this 'thinness' of sound is in my idea not a big problem, or rather an advantage. (Thinness of sound IS a problem with Sir Simon Rattle's Mahler 8, though!). But I must hasten to say that the whole aural range - from soaring and piercing highs to rumbling lows - is captured in an astoundingly sharp and beautifully natural way.
Compared with other recordings of Mahler's Tenth Symphony (many of which are different 'versions', but I would like to stick with the 'performing version' by Deryck Cooke et al here for convenience sake), like Inbal or Chailly, I like this one the best. At least it is the most convincing performance - the conductor wresting each and every possible emotion from all of the notes - that I have ever heard. This must be the most 'highly charged' (emotionally as well as purely musical) performance - combined with some of the most disciplined playing - ever recorded. There are more 'beautiful' performances maybe (take for example Inbal), but those are generally a little(?) more laid back and relaxed. This is of course the result of different, equally legitimate visions of different conductors, suiting many tastes or moods ... if such could be possible in this very explicit music: a final shout of rage and ultimately desperation at the dying of the light. Anyhow, this Mahler 10 does have the most TERRIFYING A-flat minor (Mahler's 'tragic' key) chorale (just before the infamous nine-tone chord-outburst - beyond any 'key') I have ever experienced, and I find it most unsettling to listen to. Its horror is so devastating I must really brace myself emotionally every time.
If you are drawn to this music - which is probably irrevocable - you really should have this recording. (And while the sound of the standard stereo CD is just fine, I can say that the high-resolution stereo of the audio-DVD version of this recording is even clearer and generally better and absolutely captivating. Unfortunately I am not able to listen to this recording in its six-channel Surround Sound format, so I could not comment on that, but I can only expect it would offer a truly overwhelmingly emotional experience.) Actually this shattering Mahler 10 IMHO deserves no less than six *stars*.
Even though I found lots of interesting moments (e.g. timpani at the beginning of the 5th movement, etc.), I felt kinda fundamental incompleteness throughout this symphony. Especially, one cannot expect, in Cooke's version, the great moment of finale Mahler had created in his other symphonies. (For an obvious example, compare with the finale of his 9th symphony.)
So my conclusion is that this recording is quite persuasive, but cannot convince that 10th should be placed along with the other stellar Mahler symphonies. (maybe this recording can persuade some critics that Cooke's version is worth performing, at best...) One can claim that it sounds "complete" depending on the definition of "completeness", but to me it didn't reach "greatness", except the first movement that Mahler himself completed.
It's regrettable (for me, personally) that Schoenberg didn't work on this symphony even during his unproductive periods when he usually orchestrated other composers' works.
And one reviewer below made a very bold statement. Debussy and Ravel influenced a lot on Messiaen and Boulez, who, along with some other composers, led the contemporary music after the war. One should be careful when making such statements as who's better than who. And all Mr. Dalkin claimed is that after Mahler's death the musical world was led by the two French composers.
Anyway, I can recommend this recording for those who want to hear Cooke's version, and I agree that Mahler's 10th Symphony is worth performing, but one shouldn't expect the greatness as in other Mahler's masterworks. If you do, you'll be possibly writing a review here, claiming the incompleteness of Cooke's version.
They are so problematic that Leonard Bernstein, Solti, Abbado, Kubelik, Karajan, and other prominent Malherians have declined to conduct any of the completions done by Deryck Cooke or his half dozen successors. Cooke did a wonderful job with what he had, but the mystery is why the Adagio is so obviously great while the remaining sektches aren't.
The Purgatorio movement doesn't give us a totally convincing picture. The finale is quite skeletal; Cooke had to work from a two-stave piano score. Either Mahelr was going to write in a mode much sparer than any he had ever used before, or his inspiration was flatging, which is entirely possible from a severely ill, depressed composer.
It's amazing than even these sketches can sound so good. Rattle gives a totally committed performance of the Tenth, probably the best on records. The Berlin Phil. plays with its customary virtuosity, even though EMI hasn't come up with the best sound; it's fairly thin, distant, and wiry in the upper registers of the violins. I am glad to have thids CD, but I don't think the Tenth is complete or a masterpiece, one movement aside.
Despite this disk being entitled Mahler's 10th Symphony, there is no such thing. Mahler's compositional process was such that he worked out a complete notebook of a symphony during his summers and worked out the final versions, often substantially revised, during his winters. However, during his last year, he spent a great deal of time preparing his ninth symphony rather than working on this piece. What we have here is the notebook draft of what would have become the 10th symphony had Mahler lived. It is a largely complete draft and was put into performable shape by others. Four names are provided on this label, but principle credit is given to Deryck Cooke.
So, what do we have here? It is a long elegiac piece that emphasizes strings. I am not convinced the winds would have been as suppressed as they are here, but we have what we have. The gestures and effects are all Mahlerian. If you heard this and were not told the composer, you would immediately know whose work it is. Or maybe, since you would not know the work, suppose it was someone imitating Mahler. There are some gorgeous moments, some incredibly poetic moments (the amazing ending to the first movement), and some wonderfully howling chords that are somewhat surprising.
If you don't know Mahler's music, start somewhere else. The first and second symphonies continue to be favorites and easily accessible. His music is clearly tonal, but highly chromatic (it slips from key to key easily and has many inflected chords). Some people refer to this music has late late Romantic, others see the budding of atonality. I personally hear this as 11:57 pm on the clock of Romanticism.
This recording is well done, poetically performed, and sensitively conducted by Simon Rattle. He is able to architect the whole work into a whole that makes sense and every moment is connected to all the others. Still, this is a work that is more for devotees of Mahler who want one more piece than for the general public. For them, there is a lot to hear before they need to spend time with performances of notebooks of uncompleted works, however beautiful individual moments might be.
Her range here includes arias for both soprano and mezzo from all the great Mozart operas. It wasn't the best idea to start off with Susanna's 'Deh, vieni' from the Marriage of figaro; Kozena isns't light and witty. She immediately moves into Cherubino's 'Voi che sapete,' which suts her much better. She adds trills and decoration to the vocal line and handles them expertly. Adding to the period feeling, Rattle conducts the Orch. of the Age of Enlightenment, but he seems to have asked them to use vibrato in the modern style. In the concert aria with piano obbligato, 'Ch'io mi scordi di te,' Kozena is technically impeccable, but by now we are feeling a lack of temeprament. She is too wdded to correctness, which wasn't true of her swinging outside Mozart.
When the dozen arias are through, she has displayed enormous talent, and only her lack of drama causes me to hold back the fifth star. Schwarzkopf, von Otter, and other Mozart experts have nothing to fear quite yet, but Kozena should continue to rise--she certainly has all the voice and beauty she needs.
magistral de los
clasicos de Manuel de Falla.
Este disco contiene el famoso
"Homage a Debussy" la unica
obra original compuesta para
guitarra por la mano del compositor.
Tremenda grabaccion, como para no
perdersela a ese precio...
The performers sund just beautiful and the recording is very well remastered!!!!
Buy it!!!
There are many fine accounts of this symphony, so the short answer to my question is "No". Indeed there are three exciting accounts recorded between 1975 and 1997 that I recommend quite highly, featuring both excellent playing from these orchestras and a rather faithful adherence to brisk tempi from three different conductors. Before I discuss these recordings at some length, I must mention too, Karl Bohm's critically acclaimed account recorded for Decca back in the early 1970s with the Wiener Philharmoniker, which has just been reissued by Decca in a 24 digital image bit processing remastered version; many might regard this as the "definitive" version. The oldest of my favorite three recordings of the Bruckner 4th Symphony is Eugen Jochum's superb account with the Staatskapelle Dresden for EMI; this recording is noteworthy not only because it was among the last made by one of the 20th Century's greatest Bruckner conductors, but because of the exceptionally fine, most vibrant, playing from this venerable German orchestra (This may indeed be the definitive recording of this symphony for the very reasons I've cited.). Another exceptional interpretation was recorded by Bernard Haitink and the Wiener Philharmoniker for Philips in the 1980s, and was the first great digital recording made of this symphony. Last, but not least, Nikolaus Harnoncourt's riveting interpretation with the Royal Concertgebouw Orchestra, recorded for Teldec in the 1990s, may be the most interesting musically, simply because Harnoncourt relies partly on period instrument practice (At approximately one hour in length, his recording is nearly 11 minutes shorter than Rattle's.).
I would set this recording along side Bohm or the Karajan(s) recordings. The tempos are often broad but Rattle has the vison and energy to keep the natural flow of the music. Rattle does not disrupte the music's natural flow as let say Celibidache often does.
The playing of the Berlin Philharmonic is nigh perfect and the intontion and ensemble continue to amaze. The recording is very good with a good wide range that does not confine the sound of this great orchestra.
Strongly recommended.
The BPO playing is outstanding as is the recording - with the slight caveat that the in opening pages of the first movement occasionally the brass attacks lack crispness and the recording doesn't seem quite as transparent sonically as the rest of the performance - was this perhaps recorded on a different night to the rest of the CD? But these are minor quibbles.
In fact the only reason I might not give this 5 stars is the presence in the catalogue of a more individual reading - namely that by Celibidache on EMI. Here Celi's interpretation and penchant for slightly slower speeds make absolute sense, and one ends up almost with a recreation rather than an interpretation. That would be my first choice.
Asani transcends musical genres with their beautiful sound. A contemporary a cappella Aboriginal womenis trio from Canada, Asani carries with them the influences of First Nations and Metis music. Their repertoire is comprised of original compositions in Woodland Cree and English.
Rattle & Drum,Asani,Arbor Records Ltd,Int'l & World Music,Native American,Pop
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Rattle and Hum
U2 Manufacturer: Island ProductGroup: Music Binding: Audio CD  General
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ASIN: B000001FS6 Release Date: 1990-06-15 |
Tracks:
- Helter Skelter
- Van Diemen's Land
- Desire
- Hawkmoon 269
- All Along The Watchtower
- I Still Haven't Found What I'm Looking For
- Freedom For My People
- Silver And Gold
- Pride (In The Name Of Love)
- Angel Of Harlem
- Love Rescue Me
- When Love Comes To Town
- Heartland
- God Part II
- The Star Spangled Banner
- Bullet The Blue Sky
- All I Want Is You
Amazon.com
The ill will that initially greeted Rattle and Hum--the follow-up to the band's massively successful Joshua Tree album--was due in large part to the bloated and self-important feature film that accompanied it, which showed the band as being simultaneously naive and pretentious as it "discovered" America. But as the film mercifully slips from memory, the music has remained, from the furious swirl of "Desire" and a clutch of live hits to insightful musical nods to heroes such as Bob Dylan, John Lennon, and Billie Holiday. Songs like "When Love Comes to Town," a supercharged blues duet with B.B. King, suggests the quartet knew more about America from listening to its music than Phil Joanou's unintentional mockumentary suggested. --Daniel DurchholzCustomer Reviews:
Am I Buggin' Ya? I Don't Mean to Bug Ya!.......2007-05-28
the movie stunk buy the cd.......2007-04-04
Powerfull.......2007-03-25
It also contains new tracks but in their live versions.
I will not rate this cd songs by songs, I will only tell you that I just love this one and review some of them.
The voice of Bono in "Hawkmoon 269" is simply amazing.
I just love "Angel of Harlem", very good songs ! "Love rescue me" is highly emotionnal, "When love comes to town" is a very good blues track with B.B.King, "Heartland" and "God part II" are great and "All I want is you" is one of my favorite U2 songs. A must have cd.
Quality Music.......2007-01-05
However, I sometimes think that Rattle and Hum cost U2 dearly. Since U2 did so many cover songs from rock legends like The Beatles, Bob Dylan, and Jimi Hendrix, many people perceived this album to be "self important" and "conceited." By covering those famous artists, it was like U2 were saying: "Look, we're in the same category as The Beatles or Bob Dylan.
Perhaps if U2 had not taken such a self indulgent approach to this album, people would like them even more than they already do...which is a lot really.
U2's "American record".......2006-11-14
LOVE RESCUE ME: co-written by Bob Dylan, the man who encouraged U2 to discover and explore their musical roots in the first place. This hushed and heartfelt masterpiece contains some of the most brilliant and confessionary lyrics you'll ever hear. The only question is whether it's Bono or Bob doing the confessing.
HEARTLAND: Another gorgeous slow-burner, this one harkening back to their more ethereal Unforgettable Fire sound.
GOD PART II: The direct precursor to 1990's The Fly - ominous, scathing, and ultra-modern.
BULLET THE BLUE SKY (LIVE): Starring Bono's famous "Well, the God I believe in isn't short on cash...Mister!" speech. Another choice rant is captured in the live version of their great b-side, SILVER AND GOLD. "Am I buggin' you? Didn't mean to...bug ya. Edge, play the blues!!!"
ALL I WANT IS YOU: Strong contender for greatest U2 tormented-love-anthem, alongside whoppers like One, Stay, With or Without You & So Cruel. Also features what may be the single most emotionally charged electric guitar solo ever performed.
My only complaint is that they should have released it as two separate albums - one live and one studio. The mix makes for a somewhat disjointed listen, but the quality of the songs and performances is off the charts. Bono, especially, is at his peak on this album, belting out drop-dead brilliant lyrics with matchless enthusiasm and confidence.
RATTLE & HUM was maligned by hipsters when it came out, but it was - and still is - a genuine rock spectacle for the ages.
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Henry V: Original Soundtrack Recording (1989 Film)
Patrick Doyle , and Simon Rattle Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Movie Scores
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ASIN: B000002RRG Release Date: 1990-05-08 |
Tracks:
- Henry V: Opening Title - 'O! For A Muse Of Fire'
- Henry V: Henry V Theme - The Boar's Head
- Henry V: The Three Traitors
- Henry V: Now, Lords, For France!
- Henry V: The Death Of Falstaff
- Henry V: 'Once More Unto The Breach'
- Henry V: The Threat To The Governor Of Harfleur - Katherine Of France - The March To Calais
- Henry V: The Death Of Bardolph
- Henry V: 'Upon The King'
- Henry V: St. Crispin's Day - The Battle Of Agincourt
- Henry V: 'The Day Is Yours'
- Henry V: 'Non nobis, Domine'
- Henry V: The Wooing Of Katherine
- Henry V: 'Let This Acceptance Take'
- Henry V: End Title
Amazon.com
Composer Patrick Doyle's first film score accompanied Kenneth Branagh's first movie as director. For both, Henry V (1989) is a triumph. Branagh's vision of the play is a far darker, more realistic depiction than the morale-boosting patriotism of Laurence Olivier's 1945 classic. Doyle's score had to follow in the footsteps of William Walton, but undaunted, the first-timer rose to the challenge magnificently. Briefed by the director to follow "Shakespeare's golden words" and be "as bold as possible," Doyle produced music of epic scope, lyrical passion, and descriptive imagination. The score has a real flavor of opera--a trait that would become familiar in all of this composer's later work--as Doyle underscores the great speeches (notably the St Crispin's Day speech) with a tangible sense of drama, but one that is always sensitive to the nuances of the words. Set-pieces such as the death of Falstaff and the visceral Battle of Agincourt stand out, but the entire score feels operatically through-composed, unified by Doyle's strong instinct for melody. The melodramatic climax of his "Non nobis, Domine" (that's the composer singing at the beginning) unashamedly rivals "Land of Hope and Glory" for--as Branagh puts it--"hummability." Quite how they coaxed Sir Simon Rattle and the CBSO into the studio remains a mystery, but the result is one of the best performed, most orchestrally luxurious soundtracks ever recorded. Patrick Doyle's later scores may be more refined (try Hamlet, for example), but none quite match the sheer exuberance of this debut. --Mark Walker, Amazon.co.ukCustomer Reviews:
Timeless Masterpiece.......2007-06-07
Non Nobis Domine.......2007-05-29
Beautiful soundtrack to Ken Branaugh's best Shakespeare film........2007-01-10
Passionate and inspiring.......2006-12-17
An Intriguing, Intense Score.......2006-02-01
For other excellent Shakespeare soundtracks, try Jocelyn Pook's The Merchant of Venice--which is even more fascinating than this CD is--and the uplifting Much Ado About Nothing composed by Patrick Doyle. Try also to order an out-of-print copy of the two-CD set Shakespeare at the Movies.
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Brahms: Ein Deutsches Requiem
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Brahms
| Brahms, Johannes
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ASIN: B000MTEDIE Release Date: 2007-04-03 |
Tracks:
- I. Selig Sind, Die Da Leid Tragen
- II. Denn Alles Fleisch, Es Ist Wie Gras
- III. Herr, Lehre Doch Mich
- IV. Wie Lieblich Sind SDeine Wohnungen
- V. Ihr Habt Nun Traurigkeit
- VI. Denn Wir Haben Hier Keine Bleibende Stadt
- VII. Selig Sind Die Toten
Amazon.com
This is a big, monolithic performance of this somewhat monolithic work, but it doesn't sound impenetrable as it occasionally can. The second movement is as gigantic as any might want, but there's great spring in its last few minutes; elsewhere, Sir Simon Rattle leads with a clarity and energy that are decidedly not lament-like. The 4th movement, "Wie lieblich sind deine Wohnungen," seems to sway under Rattle's baton; it appears as a light interlude. There is great warmth in the "Ich habt nun Traurigkeit" movement and all pomp seems to die away. The fugal moments are crystal clear, even with the large orchestra and chorus (this is clearly not a "period" instrument performance), and both soloists--baritone Thomas Quasthoff and Dorothea Röschmann--sing their music with close attention to the text. The Berlin Philharmonic and Rundfunkchor are superb. This is a beautiful reading of a work that can be forbidding - highly recommended. --Robert LevineCustomer Reviews:
As good as can be.......2007-07-07
A requiem that does not drag.......2007-07-03
A minor problem is in the balance of the solo voices. EMI has the solo voices to close in the final mix. This at times can bring a degree of harsness in their singing that might not be there had the voices been mixed more "naturally" as you would hear in a concert hall. The way companies mix soloist such as singers or instrumentalists is a problem as they tend to over mix the soloist rather then balance the sound somewhat more distance in the final mix as you would hear in the concert hall.
Other than how the solos are to closely mixed in the sound picture this is a very fine performance.
OK but ultimately underwhelming.......2007-04-16
The chorus, for one. The Berlin Rundfunkchor sounds bloodless and harsh: both because of its size (much smaller than what Brahms would have expected) as well as its overall sound, which is a good deal more "British" than the warm resonance of a group like the RIAS Kammerchor--which is more often the chorus the Berlin Philharmonic calls on. Now we know why.
But the problem also lies with Rattle, who essentially abdicates any sense of direction once he gets to the contrapuntal sections. He simply sets a fast but inert tempo and phones it in.
This combination of the bloodless choir and the bloodless conducting is all the more disappointing because it's juxtaposed with some wonderfully rich orchestral playing. Whoever says this ensemble has lost its deep, "Germanic" sound should listen to this recording as proof to the contrary.
Both Quasthoff and Roeschmann spread a bit in their top range, and both have a few difficulties shaping longer phrases--but I've never heard this from them before, which makes me suspect it's more a one-time thing. Otherwise, though, they're wonderful, and together with the orchestra they provide some needed warmth to a performance that--so uncharacteristically of Rattle--could use all the vitality it can muster.
Rattle is fine, Quasthoff is great.......2007-04-15
And the performance itself? Rattle avoided Brahms for twenty years on records and has turned to it late, no doubt out of a sense that his position in Berlin calls for it. One detects a certain lack of religious intensity in the opening movements, which is strongly at odds with Brahms's fervent Protestant intent. There's no lift, no soaring lyricism when harmonies shift upward. The timpani underlying the second movement should sound like the approach of fate--this is a work about death--but here it sounds merely like a drumbeat.
One could say that Rattle is giving us a lighter, less haunted approach than usual, not as perky perhaps as period performances from Gardiner and Herreweghe, but lacking the world-shaking grandeur of Klemperer. For many listeners the chief attraction will be the great Thomas Quasthoff, a totally convincing singer of Brhams lieder. The Gramohone reviewer grumbled that Quasthoff was having a bad night, but that would be an outstanding night for any other baritone. In fact his voice lacks a certain stability of tone at loud volume here, but he is never less than a passionate, riveting soloist, for me the best to be heard in the wonderful third and sixth movements since Hans HOtter for Karajan in the early postwar years. Rattle follows Quasthoff's lead, giving us freer expression and hushed spiritual intimacy from the chorus--this is the cry of souls coming face to face with mortality on Judgment Day.
I am not a particular fan of Dorothea Roschmann, who nevertheless gets a lot of plum jobs in opera and choral works nowadays. Here she is up against the likes of Schwarzkopf and Battle, whose singing of the Traurigkeit movement is exquisite. Roschmann can't match them for vocal purity, but she is emotionally gripping, which counts for a lot, and Rattle speeds up the movement, making it vocally less teacherous for her. Throughout the German Radio Choir, which I assume is professional or nearly so, sings quite accurately and with pure tone.
In all, this reading is a mixed bag. I don't think I really buy that Rattle is sympathetic to Brahms's religious feelings, but he is certainly skillful at extracting a convincing performance musically, and Quasthoff is a joy.
VERY BRAHMSIAN ACCOUNT OF THE REQUIEM.......2007-04-03
Like his recent Schubert Great C Major, this is in many ways an old fashioned performance. Tempi are broader than we get from more `authentic' modernists like John Eliot Gardiner, Roger Norrington and the like, textures are richer and warmer, it comes through as an altogether grander work. Brahms determined to write a very untraditional Requiem, not just in his choice of texts but in his focus on the bereaved who are left behind rather than the traditional prayers for the dead themselves. It was, after all, written soon after his mother's death and the central movement, `Ihr habt nun Traurigkeit', is a tender and moving memorial to her. Rattle reflects this humanity in his performance: it is perhaps the most humanist German Requiem since Kempe's wonderful performance with the same orchestra.
I don't want to leave the impression that this is an over-sombre, stodgy performance, though. Far from it. Those moments when the clouds clear and the sun comes out and the music starts to stir with life, movement and liveliness suit Rattle's ability to lift and energise a rhythm well. The fourth movement becomes almost a lilting waltz at times, a heavenly dance if you like. The big fugal passages with their strong undertow of typical Brahmsian pedal points have great energy and thrust. Even the imposing, deliberate tread of the `Alles Fleisch' funeral march always retains focus and purpose.
The performers are an impressive lot. The orchestra again shows itself to be in the very front rank, investing textures with colour and shape, phrasing solos with individuality while remaining consistent with the whole. The choir are exceptional: this is glorious, wonderfully disciplined choral singing. Roschmann is an ideally tender soprano soloist in that central, consolatory movement. Quastoff is eloquent as always, but do I detect just the first signs of wear and tear in the voice creeping in? Is there just a tad more spread to the tone when it's put under pressure than there used to be? It is nevertheless a fine performance. Perhaps neither soloist quite lives up to the perfect ethereal beauty of Grummer or the drama of Fischer-Dieskau on the Kempe recording, but they are certainly good enough to see off most of their modern rivals.
As a performance, the Kempe remains something very special. Among modern recordings, this new one is up there with the very best. Gardiner is worth exploring for a refreshingly brisker cleaner view: but for a more traditional take on the work this new Berlin performance is well worth hearing.
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John Adams - Harmonielehre · The Chairman Dances · Tromba lontana · Short Ride in a Fast Machine / Sir Simon Rattle
John Adams , Simon Rattle , Jonathan Holland , Wesley Warren , and City of Birmingham Symphony Orchestra Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Dances
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ASIN: B000002RU2 Release Date: 1994-04-12 |
Tracks:
- Harmonielehre: Part I.
- Harmonielehre: Part II. The Anfortas Wound
- Harmonielehre: Part III. Meister Eckhardt And Quackie
- The Chairman Dances: Foxtrot For Orchestra
- Two Fanfares: Tromba Lontana - Jonathan Holland
- Short Ride In A Fast Machine
Customer Reviews:
Terrific Big Big music.......2007-05-15
I heard the St. Louis Symphony womp this puppy out at Carnegie Hall and it's just as great on this CD by Rattle et co. Vast, intricate, sailing, imaginative.
Buy it.
A Must-Have For Lovers of Contemporary Classic Music.......2007-03-28
I bought this because it sounded so good on the radio.......2007-02-06
Rattle and roll.......2007-01-12
think I'll just go back and listen to it again. Care to join me ?
A Finely Tuned Harmonielehre.......2006-04-02
For inclusiveness Rattle has elected excerpts from one of Adams operas, 'Nixon in China', in the facile and gently humorous yet tender 'The Chairman Dances', foxtrot for orchestra. For sheer showmanship there is the 'Tromba Lontana, fanfare for orchestra', and the often performed 'Short Ride in a Fast Machine, fanfare for orchestra'.
But the glory of the recording of course is the magnificent orchestral 'symphony' from 1984-85, the 'Harmonielehre'. Though this work has multiple recordings, not the least one being the premiere recording with Edo de Waart and the San Francisco Symphony, Simon Rattle brings to the work his usual insight into architecture that allows the listener to appreciate the splendors of each of the three sections.
But this listener, though long a champion for this masterwork, was still amazed to hear just how magnificently composed is 'Harmonielehre', hearing a live performance with John Adams conducting the Los Angeles Philharmonic. The acoustic of Disney Hall allowed the huge percussion section of drums, gongs, bells, keyboards, triangles, etc and manipulations of each of these sections in the odd ways in which Adams achieves his effects to truly shine. Watching the performance enhances the auditory splendor. Rarely has the emotionally loaded aspect of the work been so revealed. One can only hope that Adams will record this performance to share the miracle. Grady Harp, April 06
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Mahler - Symphony 10 / Berliner Philharmoniker · Rattle
Gustav Mahler , Simon Rattle , and Berliner Philharmoniker Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Mahler
| Mahler, Gustav
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ASIN: B00004RITP Release Date: 2000-06-06 |
Tracks:
- Sym No.10: I. Adagio
- Sym No.10: II. Scherzo
- Sym No.10: III. Purgatorio (Allegretto Moderato)
- Sym No.10: IV. Scherzo
- Sym No.10: V. Finale
Amazon.com
Just as the Payne/Elgar Symphony No. 3 is not Edward Elgar's definitive statement, Mahler did not complete his Symphony No. 10. He did, however, complete the first movement in full score and the second in short score, while he left incomplete sketches for the remainder. Had he lived, Mahler would almost certainly have shaped the material further. This means that the performance edition prepared by Deryck Cooke in the early 1960s is not a completion, it's an orchestration of the short score left at Mahler's death in 1911. It nevertheless sounds very "complete," both in itself and as a summation of the romantic-epic 19th century German musical tradition. Hereafter, the France of Debussy and Ravel would lead the musical world, and Stravinsky's 1913 Parisian premiere of The Rite of Spring would turn it upside-down.Simon Rattle has recorded a fine version with the CBSO. In 1980, Rattle conducted the Symphony No. 10 in a highly acclaimed performance with the Bournemouth Symphony Orchestra, and this later version with the Berlin Philharmonic offers even greater expressive control and power. The tempos are slightly slower and, inevitably, the performances more musically eloquent. The excellent live sound omits all but the faintest background noise, and the grave beauty of the Finale becomes a deeply moving testament to a world long-since gone. --Gary S. Dalkin
Customer Reviews:
once again, Rattle is undermined by less than great sound.......2006-12-27
For the Cooke version, I'm still a big fan of the old Ormandy recording. But if you own a DVD-A player, it may well be worth investigating the Rattle on a DVD-A disc. If you wish to explore beyond Cooke, as an addendum, you couldn't do better than the outstanding Litton/Dallas S.O./Delos recording of the wild and wooly Clinton Carpenter version. Yes, Carpenter over-extends himself; stepping deep into the sound world of Alban Berg. But once you get used to it, his remains the most satisfying - in terms of the work's narrative - and idiomatic sounding "completion" of the lot. He simply captures more of the ebb and flow of Mahler's extreme emotions and mood shifts (this was a rough period for him, shall we say).
Rawness, starkness... greatness........2005-12-23
The performance in my ears sounds more 'raw' and with more 'attack' than any other recording of this music, the result of Sir Simon Rattle's tendency to make the most of all the many contrasts and sudden tempo changes, and to make every instrumental sound stand out in the orchestral soundpicture as clearly as possible. Fire and ice. Although this could also be caused by the rather direct and clear, but somewhat thin recording as such. With this specific music, this 'thinness' of sound is in my idea not a big problem, or rather an advantage. (Thinness of sound IS a problem with Sir Simon Rattle's Mahler 8, though!). But I must hasten to say that the whole aural range - from soaring and piercing highs to rumbling lows - is captured in an astoundingly sharp and beautifully natural way.
Compared with other recordings of Mahler's Tenth Symphony (many of which are different 'versions', but I would like to stick with the 'performing version' by Deryck Cooke et al here for convenience sake), like Inbal or Chailly, I like this one the best. At least it is the most convincing performance - the conductor wresting each and every possible emotion from all of the notes - that I have ever heard. This must be the most 'highly charged' (emotionally as well as purely musical) performance - combined with some of the most disciplined playing - ever recorded. There are more 'beautiful' performances maybe (take for example Inbal), but those are generally a little(?) more laid back and relaxed. This is of course the result of different, equally legitimate visions of different conductors, suiting many tastes or moods ... if such could be possible in this very explicit music: a final shout of rage and ultimately desperation at the dying of the light. Anyhow, this Mahler 10 does have the most TERRIFYING A-flat minor (Mahler's 'tragic' key) chorale (just before the infamous nine-tone chord-outburst - beyond any 'key') I have ever experienced, and I find it most unsettling to listen to. Its horror is so devastating I must really brace myself emotionally every time.
If you are drawn to this music - which is probably irrevocable - you really should have this recording. (And while the sound of the standard stereo CD is just fine, I can say that the high-resolution stereo of the audio-DVD version of this recording is even clearer and generally better and absolutely captivating. Unfortunately I am not able to listen to this recording in its six-channel Surround Sound format, so I could not comment on that, but I can only expect it would offer a truly overwhelmingly emotional experience.) Actually this shattering Mahler 10 IMHO deserves no less than six *stars*.
4 stars for incompleteness of the Cooke version.......2005-10-30
Even though I found lots of interesting moments (e.g. timpani at the beginning of the 5th movement, etc.), I felt kinda fundamental incompleteness throughout this symphony. Especially, one cannot expect, in Cooke's version, the great moment of finale Mahler had created in his other symphonies. (For an obvious example, compare with the finale of his 9th symphony.)
So my conclusion is that this recording is quite persuasive, but cannot convince that 10th should be placed along with the other stellar Mahler symphonies. (maybe this recording can persuade some critics that Cooke's version is worth performing, at best...) One can claim that it sounds "complete" depending on the definition of "completeness", but to me it didn't reach "greatness", except the first movement that Mahler himself completed.
It's regrettable (for me, personally) that Schoenberg didn't work on this symphony even during his unproductive periods when he usually orchestrated other composers' works.
And one reviewer below made a very bold statement. Debussy and Ravel influenced a lot on Messiaen and Boulez, who, along with some other composers, led the contemporary music after the war. One should be careful when making such statements as who's better than who. And all Mr. Dalkin claimed is that after Mahler's death the musical world was led by the two French composers.
Anyway, I can recommend this recording for those who want to hear Cooke's version, and I agree that Mahler's 10th Symphony is worth performing, but one shouldn't expect the greatness as in other Mahler's masterworks. If you do, you'll be possibly writing a review here, claiming the incompleteness of Cooke's version.
Rattle gives the best-ever reading of the Cooke completion.......2005-10-11
They are so problematic that Leonard Bernstein, Solti, Abbado, Kubelik, Karajan, and other prominent Malherians have declined to conduct any of the completions done by Deryck Cooke or his half dozen successors. Cooke did a wonderful job with what he had, but the mystery is why the Adagio is so obviously great while the remaining sektches aren't.
The Purgatorio movement doesn't give us a totally convincing picture. The finale is quite skeletal; Cooke had to work from a two-stave piano score. Either Mahelr was going to write in a mode much sparer than any he had ever used before, or his inspiration was flatging, which is entirely possible from a severely ill, depressed composer.
It's amazing than even these sketches can sound so good. Rattle gives a totally committed performance of the Tenth, probably the best on records. The Berlin Phil. plays with its customary virtuosity, even though EMI hasn't come up with the best sound; it's fairly thin, distant, and wiry in the upper registers of the violins. I am glad to have thids CD, but I don't think the Tenth is complete or a masterpiece, one movement aside.
A performance of Mahler's draft of the symphony prepared by others.......2005-10-03
Despite this disk being entitled Mahler's 10th Symphony, there is no such thing. Mahler's compositional process was such that he worked out a complete notebook of a symphony during his summers and worked out the final versions, often substantially revised, during his winters. However, during his last year, he spent a great deal of time preparing his ninth symphony rather than working on this piece. What we have here is the notebook draft of what would have become the 10th symphony had Mahler lived. It is a largely complete draft and was put into performable shape by others. Four names are provided on this label, but principle credit is given to Deryck Cooke.
So, what do we have here? It is a long elegiac piece that emphasizes strings. I am not convinced the winds would have been as suppressed as they are here, but we have what we have. The gestures and effects are all Mahlerian. If you heard this and were not told the composer, you would immediately know whose work it is. Or maybe, since you would not know the work, suppose it was someone imitating Mahler. There are some gorgeous moments, some incredibly poetic moments (the amazing ending to the first movement), and some wonderfully howling chords that are somewhat surprising.
If you don't know Mahler's music, start somewhere else. The first and second symphonies continue to be favorites and easily accessible. His music is clearly tonal, but highly chromatic (it slips from key to key easily and has many inflected chords). Some people refer to this music has late late Romantic, others see the budding of atonality. I personally hear this as 11:57 pm on the clock of Romanticism.
This recording is well done, poetically performed, and sensitively conducted by Simon Rattle. He is able to architect the whole work into a whole that makes sense and every moment is connected to all the others. Still, this is a work that is more for devotees of Mahler who want one more piece than for the general public. For them, there is a lot to hear before they need to spend time with performances of notebooks of uncompleted works, however beautiful individual moments might be.
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Mozart Arias
Manufacturer: Archiv Produktion ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B000G6BJNK Release Date: 2006-11-14 |
Tracks:
- Giunse alfin il momento...Deh, vieni, non tardar...
- Voi che sapete
- Ch'io mi scordi di te... Non temer, amato bene, K.505
- "In uomini, in soldati"
- "Ei parte...Per pietà"
- "E amore un ladroncello"
- "Non più di fiori"
- "Quando avran fine omai" - "Padre, germani, addio!"
- Vado, ma dove? oh Dei!, K.583
- "Non so più cosa son, cosa faccio"
- Alma grande e nobil core, K.578
- "Giunse alfin..." _ "Al desio di chi t'adora" (K.577)
Album Description
Magdalena Kozená's first all-Mozart album--and her firstalbum in collaboration with partner Sir Simon Rattle--stands
out as one of the highlights of 2006's Mozart Anniversary
celebrations.
Magdalena is a natural Mozart singer, garnering rave reviews
and enchanting audiences wherever she performs Mozart
on stage. Recent performances in Philadelphia, Los Angeles,
Berkeley and New York (Carnegie Hall) have brought her
glowing praise.
This album is a collection of some of Mozart's finest arias
for female voice, mostly for mezzo-soprano but Magdalena
also taps her soprano potential with arias including Vitellia's
"Non più di fiori" from La Clemenza di Tito.
Sir Simon Rattle is the ideal conductor for this project,
delicately wrapping Magdalena's voice in vivid and sensitive
orchestral sounds of the Orchestra of the Age of
Enlightenment, the period ensemble with which he has
been working for more than a decade.
This release features one of the world's most exciting voices
joined by a brilliant conductor and ensemble--a Mozart
recording poised to captivate music lovers and critics
worldwide.
Customer Reviews:
"Lovely and Amazing".......2007-05-13
I finally got around to getting this.............2007-04-07
A great conductor and a rising mezzo make beautiful music together.......2007-01-16
Her range here includes arias for both soprano and mezzo from all the great Mozart operas. It wasn't the best idea to start off with Susanna's 'Deh, vieni' from the Marriage of figaro; Kozena isns't light and witty. She immediately moves into Cherubino's 'Voi che sapete,' which suts her much better. She adds trills and decoration to the vocal line and handles them expertly. Adding to the period feeling, Rattle conducts the Orch. of the Age of Enlightenment, but he seems to have asked them to use vibrato in the modern style. In the concert aria with piano obbligato, 'Ch'io mi scordi di te,' Kozena is technically impeccable, but by now we are feeling a lack of temeprament. She is too wdded to correctness, which wasn't true of her swinging outside Mozart.
When the dozen arias are through, she has displayed enormous talent, and only her lack of drama causes me to hold back the fifth star. Schwarzkopf, von Otter, and other Mozart experts have nothing to fear quite yet, but Kozena should continue to rise--she certainly has all the voice and beauty she needs.
Another winning recital by Kozena.......2006-11-29
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The Essential Falla
Manufacturer: Decca ProductGroup: Music Binding: Audio CD Ballets
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ASIN: B00001X59X Release Date: 1999-10-12 |
Tracks:
- Love The Magician: Introduction And Scene... In The Cave
- Love The Magician: Song Of Suffering Love
- Love The Magician: The Spectre... Dance Of Fear
- Love The Magician: Magic Circle... Midnight
- Love The Magician: Ritual Fire Dance
- Love The Magician: Scene
- Love The Magician: Song Of The Will-O'-The-Wisp
- Love The Magician: Pantomime
- Love The Magician: Dance Of The Game Of Love
- Love The Magician: Finale: The Bells Of Dawn
- Harpsichord Concerto: I. Allegro
- Harpsichord Concerto: II. Lento
- Harpsichord Concerto: III. Vivace
- Homenaje 'Le Tombeau de Claude Debussy'
- Psyche
- Nights in the Gardens of Spain: I In The Generalife
- Nights in the Gardens of Spain: II Distant Dance
- Nights in the Gardens of Spain: III In The Gardens Of The Sierra de Cordoba
Tracks:
- La Vida breve: Interludio y Danza
- Seven Spanish Folk Songs: The Moorish Cloth
- Seven Spanish Folk Songs: Seguidilla From Murcia
- Seven Spanish Folk Songs: Asturian Song
- Seven Spanish Folk Songs: Jota
- Seven Spanish Folk Songs: Lullaby
- Seven Spanish Folk Songs: Song
- Seven Spanish Folk Songs: Polo
- Four Spanish Pieces: Aragonesa
- Four Spanish Pieces: Cubana
- Four Spanish Pieces: Montanesa
- Four Spanish Pieces: Andaluza
- The Three-Cornered Hat: Part 1: Introduction
- The Three-Cornered Hat: Part 1: Afternoon
- The Three-Cornered Hat: Part 1: Dance Of The Miller's Wife
- The Three-Cornered Hat: Part 1: The Grapes
- The Three-Cornered Hat: Part 2: The Neighbours' Dance
- The Three-Cornered Hat: Part 2: The Miller's Dance
- The Three-Cornered Hat: Part 2: The Corregidor's Dance
- The Three-Cornered Hat: Part 2: Final Dance
Customer Reviews:
LO MEJOR DE LO MEJOR.......2002-03-29
magistral de los
clasicos de Manuel de Falla.
Este disco contiene el famoso
"Homage a Debussy" la unica
obra original compuesta para
guitarra por la mano del compositor.
Tremenda grabaccion, como para no
perdersela a ese precio...
A Very Fine Compilation.......2000-05-17
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Gershwin: Porgy and Bess
George Gershwin , Simon Rattle , Hyacinth Nicholls , London Philharmonic Orchestra , Camellia Johnson , Maureen Braithwaite , Colenton Freeman , Alan Tilvern , Anne Fridal , Autris Paige , Barrington Coleman , Billy J. Mitchell , Blair Wilson , Bruce Hubbard , Curtis Watson , Cynthia Clarey , Cynthia Haymon , Damon Evans , Gregg Baker , Harolyn Blackwell , Johnny Worthy , Linda Thompson , Marietta Simpson , Mervin Wallace , Michael Forest , Paula Ingram , Raemond Martin , Ron Travis , Ted Maynard , Wayne Marshall , Willard White , and William Johnson Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Gershwin
| Gershwin, George
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ASIN: B000AQACX4 Release Date: 2005-09-13 |
Tracks:
- Introduction
- Summertime And The Livin' Is Easy
- Oh, Nobody knows When The Lawd Is Goin' To Call
- Give Him To Me...Lissen To Yo' Daddy Warn You...
- Here's The Ol' Crap Shark!...No, No, Brudder
- Here Comes Big Boy!
- Six To Make!
- Jesus, He Killed Him!...That You, Sportin' Life?
- Where Is Brudder Robbins?...Come On, Sister
- Overflow, Overflow
- A Saucer-Burial Set-up, I See
- My Man's Gone Now
- How De Saucer Stan' Now, My Sister?
- Oh, The Train Is At The Station
Tracks:
- Oh, I'm Agoin' Out To The Blackfish Banks
- Mus' Be You Mens Forgot About De Picnic...Oh, I Got Plenty O' Nuttin'
- Lissen There, What I Tells You...I Hates Yo' Struttin' Style
- Mornin', Lawyer, Lookin' For Somebody?
- Boy. Come Here, Boy!
- Buzzard Keep On Flyin' Over
- 'Lo, Bess, Goin' To De Picnic?
- Honey, We Sure Goin' Strut Our Stuff Today!...Bess, You Is My Woman Now
- Oh, I Can't Sit Down
- I Ain't Got NO Shame Doin' What I Like To Do!
- It Ain't Necessarily So...Shame On All You Sinners
- Crown!...You Know Very Well Dis Crown!
- Oh, What You Want Wid Bess?
- Honey, Dat's All De Breakfast I Got Time For
- Take Yo' Han's Off Me, I Say
- Oh, Doctor Jesus
- Oh Dey's So Fresh An' Fine
- Porgy, Porgy, Dat You There, Ain't It?
- I Wants To Stay Here, But I Ain't Worthy
- Why You Been Out On That Wharf So Long, Clara?
Tracks:
- Oh, Doctor Jesus
- One Of Dese Mornings You Goin' To Rise Up Singin'
- Oh, Dere's Somebody Kockin' At De Do'
- You Is A Nice Parcel Of Christians!
- A Red-Headed Woman Make A Choo-Choo Jump Its Track
- All Right, I'm Goin' Out To Get Clara...Oh, Doctor Jesus
- Clara, Clara, Don't You Be Downhearted...You Low-Life Skunk, Ain' You Got No Shame
- Summertime...
- Introduction...Wait For Us At The Corner
- Come Out Here, Both Of You
- Oh Lawd, What I Goin' Do? Oh, Gawd! They Goin' Make Him Look On Crown's Face!
- Listen: There's A Boat Dat's Leavin' Soon For New York
- Introduction
- Good Mornin', Sisuh!...It's Porgy Comin' Home
- Dem White Folks Sure Ain' Put Nuttin' Over On This Baby
- Here Mingo, What's De Matter Wid You All?
- Where's Bess?
- Bess Is Gone
- Oh Lawd, I'm On My Way
Customer Reviews:
You ought to wait at least 25 years, Angel!.......2007-07-06
Simply the best!!!!!!!!!!!!!!.......2007-02-02
The performers sund just beautiful and the recording is very well remastered!!!!
Buy it!!!
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Bruckner: Symphony No. 4
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Romantic
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ASIN: B000NPCMJE Release Date: 2007-05-08 |
Tracks:
- Bewegt, nicht zu schnell
- Andante quasi allegretto
- Scherzo- trio
- Finale
Amazon.com
Bruckner's Fourth Symphony underwent a complicated revision history. This recording uses the Nowak from 1886. Bruckner himself nicknamed this symphony "The Romantic." Its 1881 premiere marked his first Viennese triumph; it remains his most popular symphony, despite its occasional repetitiousness and moments when grandeur becomes grandiosity. As always, the spirit of Wagner hovers over the harmonies and the orchestration. The solemn processionals and chorales reveal the devout Catholic, while the sonorities and the frequent rests and pauses recall the organist resetting his stops. The Symphony abounds with long, arching melodies - somber and prayerful, soaring and ecstatic - and innumerable climaxes, often aborted but gathering for the final triumph. The incomparable Berlin Philharmonic revels in the glorious orchestral sound, from each individual solo to the massed tuttis. The performance is immensely exciting, expressive, and evocative. The only flaw is the excessive dynamic contrast; keep a finger on the volume-control. --Edith EislerAlbum Description
Following up their release of Brahm's Ein Deutsches Requiem, Sir Simon Rattle and the Berliner Philharmoniker continue to celebrate the orchestra's 125th year with an exploration of the 19th-century Germanic greats. On this recording they take on Bruckner's mighty Fourth Symphony, an uplifting spiritual journey across a huge musical landscape which commands the listener's attention and promises to remain in memory long after the final chords have died away.Speaking of the individuality and overwhelming power of Bruckner's music, Rattle had this to say: "It's as though one's caught up in a gigantic wave...which simply will not stop until the last note and in fact when the last note is sounded, very often the audience simply doesn't applaud because there's a feeling to it still going out into space..."
Tracklisting:
Anton Bruckner (1824-1896)
Symphony No.4 in E-Flat Major "Romantic"
1. Bewegt, nicht zu schnell
2. Andante quasi allegretto
3. Scherzo- trio
4. Finale
Customer Reviews:
Best Recorded Recent Bruckner 4th Symphony, BUT NOT My Primary Recommendation.......2007-07-26
There are many fine accounts of this symphony, so the short answer to my question is "No". Indeed there are three exciting accounts recorded between 1975 and 1997 that I recommend quite highly, featuring both excellent playing from these orchestras and a rather faithful adherence to brisk tempi from three different conductors. Before I discuss these recordings at some length, I must mention too, Karl Bohm's critically acclaimed account recorded for Decca back in the early 1970s with the Wiener Philharmoniker, which has just been reissued by Decca in a 24 digital image bit processing remastered version; many might regard this as the "definitive" version. The oldest of my favorite three recordings of the Bruckner 4th Symphony is Eugen Jochum's superb account with the Staatskapelle Dresden for EMI; this recording is noteworthy not only because it was among the last made by one of the 20th Century's greatest Bruckner conductors, but because of the exceptionally fine, most vibrant, playing from this venerable German orchestra (This may indeed be the definitive recording of this symphony for the very reasons I've cited.). Another exceptional interpretation was recorded by Bernard Haitink and the Wiener Philharmoniker for Philips in the 1980s, and was the first great digital recording made of this symphony. Last, but not least, Nikolaus Harnoncourt's riveting interpretation with the Royal Concertgebouw Orchestra, recorded for Teldec in the 1990s, may be the most interesting musically, simply because Harnoncourt relies partly on period instrument practice (At approximately one hour in length, his recording is nearly 11 minutes shorter than Rattle's.).
Among the best.......2007-07-03
I would set this recording along side Bohm or the Karajan(s) recordings. The tempos are often broad but Rattle has the vison and energy to keep the natural flow of the music. Rattle does not disrupte the music's natural flow as let say Celibidache often does.
The playing of the Berlin Philharmonic is nigh perfect and the intontion and ensemble continue to amaze. The recording is very good with a good wide range that does not confine the sound of this great orchestra.
Strongly recommended.
Among the best recent Bruckner Fourths: 4.5stars.......2007-05-14
The BPO playing is outstanding as is the recording - with the slight caveat that the in opening pages of the first movement occasionally the brass attacks lack crispness and the recording doesn't seem quite as transparent sonically as the rest of the performance - was this perhaps recorded on a different night to the rest of the CD? But these are minor quibbles.
In fact the only reason I might not give this 5 stars is the presence in the catalogue of a more individual reading - namely that by Celibidache on EMI. Here Celi's interpretation and penchant for slightly slower speeds make absolute sense, and one ends up almost with a recreation rather than an interpretation. That would be my first choice.
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Shake, Rattle & Rock
Greg & Steve Manufacturer: Greg & Steve Productions ProductGroup: Music Binding: Audio CD General
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ASIN: B000EHSME0 Release Date: 2006-01-01 |
Tracks:
- Shake, Rattle & Rock
- Stop & Go
- Today Is Monday
- Yeddy Bears' Picnic
- The Body Part Game
- A Little At a Time
- Limbo Rock
- Barnyard Boogie
- You've Gotta' Sing
- Shake Those 'Simmons Down
- The Happy Laughin' Song
- Fun To Get Fit
Product Description
Songs and activities for ages three to nine years old. Upbeat style of music gets everyone moving and dancing as well as singing along.Customer Reviews:
music kids love to dance to!!.......2007-05-07
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