Sofia

Track Listings
 
1. Bien Gallego
2. (Entre Parentesis)
3. Tres Palabras [Medley]
4. Espejito
5. Carrusel
6. Sancion de Quesos
7. Vuelo
8. Pirata y las Sirenas
9. Filomena
10. Ruigi
11. Tomas

Sofia,Sofia,Big Sur,Latin,Pop/Rock,Portugal,Rock

Sofia

Sofia
Diáspora Sefardí
Average customer rating: 5 out of 5 stars
  • One of Savall's finest
  • Nearly every night for 6 months!
  • Diáspora sefardí / Hespèrion XXI
 Diáspora Sefardí

Manufacturer: Alia Vox Spain
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004RBWV
Release Date: 2000-03-14

Tracks:

  1. El Moro De Antequera
  2. Levantose El Conde Nino
  3. El Rey De Francia
  4. Por Alli Paso Un Cavallero
  5. Por Que Llorax Blanca Nina
  6. La Guirnalda De Rosas
  7. Nani Nani
  8. El Rey Que Tanto Madruga

Tracks:

  1. Las Estrellas De Los Cielos
  2. En La Santa Helena
  3. A La Una Yo Naci
  4. Improvisacion
  5. Paxarico Tu Te Llamas
  6. Yo Era Nina De Casa Alta
  7. Longe De Mi Tu Estaras
  8. Hermoza Muchachica
  9. Axerico De Quinze Anos
  10. Improvisacion Sobre 'Axerico'

Amazon.com essential recording

The Sephardic Jews, scattered through the world after their expulsion from Spain in 1492, kept alive for centuries not only their language, Ladino, but an extraordinary repertory of "folk" songs, many of them quite sophisticated. As Ladino culture began to slowly fade away over the course of the 20th century, musicologists collected and transcribed these melodies from Ladino-speaking communities in Sarajevo, Sofia, Salonika, Smyrna, Jerusalem, and other cities. Beginning in the 1970s, these extraordinary songs were revived (to considerable excitement) for concert audiences--a revival sparked in large part by a 1976 recording by Hesperion XX. This now-legendary early music ensemble, renamed Hesperion XXI for the new century, has returned to the music of the Sephardic Diaspora with this beautifully produced and packaged release. Disc 1 contains eight songs performed lovingly by the magnetic Montserrat Figueras (who sings with an appropriately unstudied tone). The second disc includes eight more melodies performed instrumentally; the choice of instruments reflects the influence of the Muslim-ruled areas where the Sephardim settled with the oud, rebab, and qanun (Middle Eastern equivalents of the lute, fiddle, and dulcimer) performing alongside harps, lutes, flutes, and frame drums. (Inexplicably, however, the final track of this second CD--an improvisation for the sarod and tabla--sounds nice but feels completely foreign to the theme of this release.) It may have been more effective programming to mingle the vocal and instrumental tracks across the two CDs rather than segregating them. --Matthew Westphal

Customer Reviews:

5 out of 5 stars One of Savall's finest.......2004-05-19

Hespérion XXI (formerly Hespérion XX, but renamed to honour the new century) is one of the most accomplished ensembles specialising in the early music of the Iberian peninsula. It is one of the ongoing collectives led by the formidable Jordi Savall, renowned for his interpretations on the viol da gamba. The members are always changing, which makes the ensemble simply a name for a grouping of artists and interpreters of this immensely rich musical heritage, yet always under Savall's masterful direction. Diaspora Sefardi is a double-CD of music of the Sephardic Jews, a diverse culture originating in Spain and later settling in countries around the Mediterranean after their expulsion from most of Spain in 1492. Never losing sight of their basic identity as Jews or their awareness of their Spanish origins, the Sephardic culture gradually incorporated numerous influences from the peoples among whom it evolved: from the Arab culture of north Africa, from the Turks, Greeks, Bulgarians, Rumanians, Serbocroats, etc. In short, Sephardic music is an amazing blend of all these influences, immediately recognisable for its unique manifestation of this diversity.

Led by the impeccable soprano Montserrat Figueras, a generous collection of sephardic romances resides on disc one, and ten instrumental pieces are found on disc two. Savall (performing on lira, viola and rebab) is joined by some virtuoso players here: Pedro Estevan on percussions, Yair Dalal on oud, Andrew Lawrence-King on arpa doppia, Pedro Memelsdorff on flutes, and a handful of others on psaltry, qanun, laud, sarod and medieval harp. This recording differs in kind from other interpretations (by Savall or by countless other interpreters of this music) in that it employs a more diverse instrumentation that lies beyond the standard western European grouping of percussion, viol, flutes and harps, and rather embraces the instrumentations of eastern influences of this music (oud, qanun, sarod, etc.).

Disc one, subtitled "Por que llorax blanca nina" (Why do you weep fair child?) is a selection of beautiful songs, mostly from 16th and 17th century documents, though all of them look back much earlier to a very old tradition of songs. Montserrat Figueras is full of vitality, her breathtaking voice and accomplished techniques show her complete mastery of this challenging material.

Disc two, "Las estrellas de los cielos" (The stars in the sky), is a diverse collection of instrumental pieces, interpreted and performed to perfection by this ensemble. This second disc is the real jewel here. Even in the complexity of rhythms, fostered by Pedro Estevan's challenging techniques, the rhythms are extremely accessible, allowing the listener to move around within the multifaceted and subtle instrumentations. Some are traditional dance pieces, while others more meditative reflections and variations on the music of the popular romances.

Listening to this music is always a rewarding enterprise. Full of surprises, it never provokes the same response twice. This release comes highly recommended for the curious listener. It comes beautifully packaged with lyrics and an informative essay by Paloma Diaz-Mas.

5 out of 5 stars Nearly every night for 6 months!.......2003-05-01

After owning this CD for about 4 years, when my newborn daughter needed bedtime soothing I grabbed this (the 2nd CD). We listen to it nearly every night and I am never bored with it. It only bothers me a little when I find it getting stuck in my head during the day. I still enjoy sitting in the dark listening to it after 6 months. Beautiful moving music.

5 out of 5 stars Diáspora sefardí / Hespèrion XXI.......2000-11-13

En este disco Jordi Savall y su grupo retoman el trabajo que emprendieron en discos anteriores sobre la música de origen judío ("Secular music from christian and jewish Spain" y los dedicados a la Sibila). El primer disco está compuesto por obras vocales que pertenecen a distintas expresiones de la diáspora judía a través de Europa, pero todas en ladino (lengua de los sefarditas o judíos españoles), interpretadas con una gran variedad de instrumentos (percusiones, flauta dulce, salterio, arpa, laúdes, etc.) sobre las que se alza la voz de Monserrat Figueras, que maneja bastante bien el estilo y el dramatismo requeridos, a pesar de que a mi juicio su interpretación es poco variada, y no se distingue tanto de sus versiones de música barroca italiana, por ej. El segundo disco trae sólo obras instrumentales, en las que se da un mayor espacio a la improvisación y la ornamentación, lo que considero bastante pertinente pare este tipo de música, y que realmente está muy bien lograda en este caso, permitiendo trabajar toda suerte de matices (el uso del aire por parte del flautista Pedro Memmelsdorff, por ejemplo). En todo caso, es necesario señalar que éste es un disco muy fresco, donde realmente se percibe un compromiso emotivo de los músicos con las obras, que pertenecen a un repertorio bastante poco trabajado en el campo de la música antigua, y sobre el cual todavía debe quedar mucho por investigar.
Right Up Your Face
Average customer rating: 5 out of 5 stars
  • Sofia is magnificent
  • Sounds like the Corrs
  • More great music from Sweden!
 Right Up Your Face
Sofia Loell
Manufacturer: Curb Special Markets
ProductGroup: Music
Binding: Audio CD

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ASIN: B000067IRQ
Release Date: 2002-06-11

Tracks:

  1. I'm Good
  2. Right Up Your Face
  3. Utopia
  4. Come A Little Closer
  5. Will You Move On (Heaven's Not Enough)
  6. Won't Change
  7. The Only One
  8. Somebody Else
  9. I Understand
  10. Lover Undercover
  11. Too Much
  12. Miss U

Customer Reviews:

5 out of 5 stars Sofia is magnificent .......2006-08-16

Sofia's music is enchanting and inspiring. Her lovely voice and catchy empowering lyrics bring a smile to your face. I can't say enough to recommend Sofia's music. Right Up Your Face is a wonderful collection of songs that is cheerful and hard to resist playing over and over and over again. All the tracks are great which is so rare. Yeah, Sofia is magnificent and so irresistible!

5 out of 5 stars Sounds like the Corrs.......2002-08-05

The first thing I thought was that this was the lead singer for the Corrs. Even though Sofia Loell is from Sweden, there is an Irish accent to her voice. She uses tin wistle sounds as well as Middle East influences now and then. Altogether, it is a wonderful, upbeat album that can be played over and over.

5 out of 5 stars More great music from Sweden!.......2002-07-15

Sweden has already given us a ton of great pop music (the Cardigans, Cinnamon, Eggstone etc.) But there is still room for more as the debut album by rising star Sofia Loell shows. At 21 years of age she already is proving herself to be a formidable songwriter capable of creating an entire album's worth of very catchy tunes. Although her production is very "today", she owes little to the Brittany or Destiny's Child school of tired, R&B based music that's the glut of the airwaves. Instead, she provides jangly, up-tempo pop with just enough of a rock & roll feel to keep you awake on the road, along with some interesting chord changes to keep things interesting. If you want a collection of songs that sounds like somebody's greatest hits album this is it!
The Sofia Recital 1958
Average customer rating: 4.5 out of 5 stars
  • The definitive "Pictures at an Exhibition"
  • terrible coughs.
  • The Most Memorialand Quoted Piano Recital from the 1950's
  • The best interpretation of "Pictures at an Exhibition" I have heard
  • Great but the worst recording i hear
 The Sofia Recital 1958

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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  5. Brahms: Concerto No.2/Beethoven: Sonata No.23

ASIN: B0000523QI
Release Date: 2001-03-13

Tracks:

  1. Pictures At An Exhibition: Promenade
  2. Pictures At An Exhibition: I Gnomus
  3. Pictures At An Exhibition: Promenade
  4. Pictures At An Exhibition: II II vecchio castello - Promenade
  5. Pictures At An Exhibition: III Tuileries
  6. Pictures At An Exhibition: IV Bydlo
  7. Pictures At An Exhibition: Promenade
  8. Pictures At An Exhibition: Ballet des poussins dans leurs coques
  9. Pictures At An Exhibition: VI Samuel Goldenberg und Schmuyle
  10. Pictures At An Exhibition: Promenade
  11. Pictures At An Exhibition: VII Limoges: le marche'
  12. Pictures At An Exhibition: VIII Catacombae: Sepulchrum romanum - Cum mortius in lingua mortua
  13. Pictures At An Exhibition: La Cabe sur des pattes de poule
  14. Pictures At An Exhibition: La Grande Porte de Kiev
  15. Moment Musical in C Major, D780 no.1
  16. Impromptu In E Flat Major, D899 No,2
  17. Impromptu in A Flat Major
  18. Etude In E Major, Op.10 no.3
  19. Valse oubliee No.1 In F Sharp Major
  20. Valse oubliee No.2 In A Flat Major
  21. Etude d'execution transcendante No.5
  22. Etude d'execution transcendante No.11
  23. Prelude In G Sharp Minor, op.32 no.13

Customer Reviews:

5 out of 5 stars The definitive "Pictures at an Exhibition".......2007-04-30

Not much more I can add to this. If you have any interest in the original piano version of "Pictures" at all then this is the one to get. Try Muti's for an excellent version of the piece as orchestrated by Ravel(Along with a great "Rite of Spring"; dirt cheap too)- Mussorgsky: Pictures at an Exhibiton; Stravinsky: The Rite of Spring.

Nobody else understands "Pictures" as well as Richter and in his hands time melts and you are taken on a journey you will not soon forget. Richter pushes and pulls this piece wherever he wants and we the listeners are happy to follow him where he chooses to take us.

The piano sound is quite good for its time. Fairly full and with a good dynamic range. Unfortunately the audience seems to have a case of infectious coughing. Similar to the live Wartime recordings of Furtwangler in that respect. You get used to it though, and either way it doesn't matter in the hands of a performance of this stature.

There's a reason that you can still buy this nearly 50(?!) years after it was recorded. Not only are people still talking about this recital, but we are still waiting for a recording to match it in modern sound without audience interruptions. I suspect we may have to wait a long, long time.


5 out of 5 stars terrible coughs........2006-11-16

there are two recordings that would've perhaps been much more appreciated had there not been several people who coughed their way through the entire concert. the furtwangler 1942 recording of Beethoven's sixth symphony and this one.
jesus. i'm not one to complain about coughing, but we have issues here. was it communism?? really, were russians this worse off???????

things set aside, the performance itself.. is magical.

i can't add much more to previous reviewers except this: expect one of the worst recordings from the 1950's... if you brainwash yourself into believing this is one of those naxos or pearl remastered 1920s recordings, you'll find yourself much more pleased.

5 out of 5 stars The Most Memorialand Quoted Piano Recital from the 1950's .......2005-12-15

Svaitoslav Richter is the quintiessential pianist of the 20th century. This epic live recording of the Mussorsky's "Pictures at an Exhibition" stands as the supreme recording of the piano version ever recorded. Although some will argue that Horowitz recorded of his this piece with is its numerous interpretative changes is also notable but is mearly a flashey more superficial rendition than Richter's. Richter here captures this pieces mistical and heavenly appeal so perfectly it seems its nuances are forever engrained in your mind. The Promenade is so stately and energetically expressed it seemingly gives us permission to enter a heavenly 30 minute musical forum. The variation number 5, 8, 10 and the next to last are my favorites. Being a pianist (and I use that term loosely) this recording has taught me so much with regards to vivid imagery. For example the next to last variation leaves me with the impression that it is someone taking the road to heaven and finally arrives at its gates. Then is looking at the Gates of Heaven as they Open. A grand moment in any life. Richters imagery is so perfectly unbalanced that he leaves us on edge to anticipate each colorful moment. This is truely my favorite recording in classical piano because it is so awe inspiring.

5 out of 5 stars The best interpretation of "Pictures at an Exhibition" I have heard.......2005-11-17

Wow.

If the vivid imagery Richter creates in this live performance isn't enough to bring tears to your eyes, the technical prowess will certainly send you searching for the "repeat" button on your cd player.

Richter, as always, delivers an emotional and monumental performance.

3 out of 5 stars Great but the worst recording i hear.......2005-10-01

fisrt of all excuse me for my bad englih, i m french ;o)
A concert recording can't be perfect, this is the worst i hear. All the people are ill and the record man was probably far as 50m of the piano behind a door.
So, Why three stars ?
because i love this music and nobody play it as Richter this day.
Great music, Great moment...
Léon Minkus: Don Quijote
Average customer rating: 4.5 out of 5 stars
  • One of the Best Recordings of 19th Century Ballet Music Ever Produced
  • Great Conducting for Dancing
  • The full Quijote
  • Delightful recording of neglected composer
  • It is an excellent full length version of Minkus 'Ballet.
 Léon Minkus: Don Quijote

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001WS6
Release Date: 1995-12-12

Tracks:

  1. Don Quijote: Overture
  2. Don Quijote: Prologue - Allegro
  3. Don Quijote: Prologue - Auftritt (Appearance of Don Quijote)
  4. Don Quijote: Prologue - Allegro assai
  5. Don Quijote: Prologue - Sancho Thanks Don Quijote For The Salvation
  6. Don Quijote: Act 1 - A Square In Barcelona
  7. Don Quijote: Act 1 - Appearance Of Kitri
  8. Don Quijote: Act 1 - Kitri and Basilio
  9. Don Quijote: Act 1 - Moreno Dance
  10. Don Quijote: Act 1 - Scene: Lorenzo, Kitri and Basilio
  11. Don Quijote: Act 1 - Appearance of Gamasch
  12. Don Quijote: Act 1 - Seguidilla
  13. Don Quijote: Act 1 - Street Dancer And Toreador Espada
  14. Don Quijote: Act 1 - Dance Of Espada
  15. Don Quijote: Act 1 - Allegro: Scene Of Toreadores
  16. Don Quijote: Act 1 - Street Dancer
  17. Don Quijote: Act 1 - Coda
  18. Don Quijote: Act 1 - Presto assai. Allegro mestoso. Meno mosso. Tempo di Marcia
  19. Don Quijote: Act 1 - Sancho Pansa And Girls
  20. Don Quijote: Act 1 - Girlfriends Of Kitri
  21. Don Quijote: Act 1 - Scene
  22. Don Quijote: Act 1 - Variation: Basilio And Girlfriends
  23. Don Quijote: Act 1 - Variation: Kitri
  24. Don Quijote: Act 1 - Coda
  25. Don Quijote: Act 2 - Taverna: Introduction
  26. Don Quijote: Act 2 - Taverna: Appearance Of Kitri And Basilio
  27. Don Quijote: Act 2 - Taverna: Spanish Dance
  28. Don Quijote: Act 2 - Taverna: Spanish Dance Of Mercedes
  29. Don Quijote: Act 2 - Taverna: Karmencitta
  30. Don Quijote: Act 2 - Taverna: Solo a gitana - Dance Of Espada
  31. Don Quijote: Act 2 - Taverna: Sailors' Dance
  32. Don Quijote: Act 2 - Taverna: Scene
  33. Don Quijote: Act 2 - Taverna: Coda

Tracks:

  1. Don Quijote: Act 2 - Gypsy Camp: Gypsy Dance 1
  2. Don Quijote: Act 2 - Gypsy Camp: Gypsy Dance 2
  3. Don Quijote: Act 2 - Gypsy Camp: Theater Of Marionettes: Performance Scene, Madness Of Don Quijote
  4. Don Quijote: Act 3 - Dream: Scene In The Forest
  5. Don Quijote: Act 3 - Dream: Dream Of Don Quixotte
  6. Don Quijote: Act 3 - Dream: Allegretto
  7. Don Quijote: Act 3 - Dream: Variation: Dryads' Mistresses
  8. Don Quijote: Act 3 - Dream: Dryads' Mistresses ('Souvenir du Ball')
  9. Don Quijote: Act 3 - Dream: Amour
  10. Don Quijote: Act 3 - Dream: Variation: Dulcinea (Kitri)
  11. Don Quijote: Act 3 - Dream: Coda
  12. Don Quijote: Act 4 - Duke's Temple: March
  13. Don Quijote: Act 4 - Duke's Temple: Scene
  14. Don Quijote: Act 4 - Duke's Temple: Amour
  15. Don Quijote: Act 4 - Duke's Temple: Classical Variation 1
  16. Don Quijote: Act 4 - Duke's Temple: Classical Variation 2
  17. Don Quijote: Act 4 - Duke's Temple: Entree
  18. Don Quijote: Act 4 - Duke's Temple: Adagio
  19. Don Quijote: Act 4 - Duke's Temple: Variation: Basilio
  20. Don Quijote: Act 4 - Duke's Temple: Variation: Kitri
  21. Don Quijote: Act 4 - Duke's Temple: Variation: Kitri (Version Of No. 9)
  22. Don Quijote: Act 4 - Duke's Temple: Coda
  23. Don Quijote: Act 4 - Duke's Temple: Finale: Spanish Dance

Customer Reviews:

5 out of 5 stars One of the Best Recordings of 19th Century Ballet Music Ever Produced.......2005-10-15

Finding recordings of old ballets from the 19th century is usually a feat within its self. Just about every ballet company today performs them, but the orchestra hardly ever records thier music. The old composers of the ballet before Tchaikovsky are, in my opinion, the most underrated creators of music ever. Alot of this has to do with the fact that they did not write music for showing off the orchestra or even the conductor, but for showing off the ballet dancer. The Ballet Master would set down strict instructions of time, tempo, and even scoring so that the music would fit like a glove to the dances and dramatic scenes. These composers are often dismissed for thier very 'un-symphonic' approach to composing. It is rare, that an orchestra sits down to record peices that were written soley for the ballet dancer. Delibes's or Tchaikovsky's music has more symphonic qualities, and the two are more famous. This results in thier music getting recorded more often (to often if you ask me).
Among these composers, the most famous is Leon Minkus. He was, before Tchaikovsky came along, the resident composer of ballet music for the Russian Czar's Imperial Ballet in St. Petersburg. With the great choreographer Marius Petipa (who would later create "La Bayadere", "The Sleeping Beauty", "Nutcracker", "Swan Lake" among others) they created a ballet very loosley based on the Cerevantes novel "Don Quixote". The ballet premiered in Moscow, Russia in 1869 for the Bolshoi Ballet. It was taken to St Petersburg in 1872 for a more lavish and formal staging and has been performed there ever since. The work was much revised and reworked throughout Petipa's lifetime and well afterward. Among these was the staging by the great dancer Alexander Gorsky in 1900. "Don Quixote" (or "Don Quijote" as its spelled on the packaging) has been tinkered with a great deal throughout the 20th century. It is these versions that have been passed down to us.

The music, true to 19th century tradition, was added to and revised by several composers, mostly at the behest of the ballerinas that danced its leads, and the fact that revisions of the work went on well after Minkus's death. Most of the additional music is recorded here (at least the important additions), and Spassov does a first rate job in his conducting. The music is played exactly as it would sound if you were in the theatre and had dancers right in front of you.

I was so excited when I saw this item a few years back for sale and quickly snatched it up. There is another recording done by the Victoria Orchestra of the Austrailian Ballet, with the Minkus score revised and refurbished by John Lanchbery, a version used for Nureyevs sumptuous staging (its only available on the orchestra Victoria site for purchase). Spassov's conducting is one of the best performances of ballet music ever put on disc. It should be owned by all dancers and balletomanes alike. Five Stars!

5 out of 5 stars Great Conducting for Dancing.......2000-08-18

Spassov is a boon to ballet dancers. Excellent tempos and phrasing for the dancer. It's such a joy to have the full-length recording.

3 out of 5 stars The full Quijote.......2000-02-11

I was pleased to find the full length recording of this ballet that is rarely seen in its entirety. I enjoyed the recording, however, I found the orchestra less than full-bodied, especially during the Grand Pas de Deux towards the end of the CD. It seemed a little tinny, a little too fragile during Kitri's variation, which does not suit her passionate, voluptuous nature. Aside from these drawbacks, I found the music very entertaining. I am still waiting for a full length version by a more robust orchestra, but in the meantime, this Don Quijote recording will do.

5 out of 5 stars Delightful recording of neglected composer.......1999-09-04

This recording of DON QUIXOTE (the only relatively complete recording of the ballet) is a must for all lovers of ballet. While some of the orchesteral playing tends toward the insensitive oom-pah-pah side Leon Minkus's lilting score loses none of its charm or vivacity. This recording is also interesting in that it records much music which is rarely performed in American productions of the ballet. It is a delight to be able to hear the hauntingly beautiful vision scene whenever one wishes as the three variations (four if you count the recording of the original Dryad Queen's pas seul) are each masterpieces. The programme notes, unfortunately, are poorly translated and less complete than one would like. All in all I can not reccomend highly enough this fine recording of a neglected composer's work. One can only hope that other 19th century Russian ballets will be recorded. The reputations of Ceasare Pugni, Leon Minkus, and Riccardo Drigo as hack composers are completely undeserved.

5 out of 5 stars It is an excellent full length version of Minkus 'Ballet........1999-05-11

Usually, people who feel a strong predispotition for ballet music, have hard times in order to find on the commercial CD classical music, works by ballet music composers of the end of the last century. Minkus work has been negleted, but in the present version it is possible to listen to sensitive music which was predecesor of Tchaikovsky 's great ballet. I bougth this full length version at London city on 1995 and I know that in my country, Argentine, is quite hard to find Cappriccio CD version. I hope that Cappricio is keeping on with full length Ballet's version, hoping to listen a full length Version of L'Corsario as the production of Kirov Ballet and the Full length version of the Ballet La Source by Minkus-Delibes.
Minkus: Don Quixote
Average customer rating: 4 out of 5 stars
  • An Exceptional Recording of the Rarely Recorded Leon Minkus
  • A problematic album in a couple of ways, but still appealing
  • From a ballerena
  • Very good for dancing!
  • Wonderful Music!
 Minkus: Don Quixote

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

BalletsBallets | Ballets & Dances | Classical | Styles | Music
Ballets & DancesBallets & Dances | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
Similar Items:
  1. Don Quixote / Baryshnikov, Harvey, American Ballet Theatre
  2. Léon Minkus: Don Quijote
  3. Minkus: La Bayadère
  4. Glazunov: Raymonda
  5. Leon Minkus - Paquita/La Bayadere

ASIN: B0000DJEM0
Release Date: 2004-02-17

Tracks:

  1. Introduction
  2. Allegro
  3. Entrance Of Don Quixote
  4. Allegro Assai
  5. Sancho Panza, Saved From His Pursuers, Is Appointed Don Quixote's Squire
  6. A Square In Barcelona
  7. Quiteria (Kitri) Enters
  8. Quiteria And Basilio
  9. Moreno
  10. Scene: Lorenzo, Quiteria And Basilio
  11. Camacho Enters
  12. Seguidilla
  13. Street Dancer And Toreador
  14. Espada
  15. Moderato
  16. Scene Of The Toreador
  17. Street Dancer
  18. Coda
  19. Don Quixote And Sancho Panza
  20. Sancho And The Girls
  21. Their Friends
  22. Don Quixote Invites Quiteria To A Minuet
  23. Basilio With Friends
  24. Quiteria's Variation
  25. Coda: Basilio And Quiteria Make Their Escape
  26. Windmill
  27. Quiteria And Basilio
  28. Giga
  29. Carmencita

Tracks:

  1. Sola A Gitana
  2. Spanish Dance
  3. Sailor's Dance
  4. Scene
  5. Coda
  6. Gypsy Dance I
  7. Gypsy Dance II
  8. Scene: Puppet Theatre, Attacked By Don Quixote, Who Then Attacks The Windmill
  9. Don Quixote Sleeps
  10. Allegro
  11. He Dreams Of Dulcinea
  12. Allegretto
  13. The Queen Of The Dryads
  14. Amour
  15. Quiteria's Variation As Dulcinea
  16. Souvenir Du Bal
  17. Coda
  18. March
  19. Scene
  20. Amour
  21. Classical Variation I
  22. Flower Waltz
  23. Classical Variation II
  24. Entree
  25. Dryads' Variation
  26. Basilio's Variation
  27. Quiteria's Variation
  28. Quiteria's Variation (The Fan)
  29. Coda
  30. Finale: Spanish Dance

Customer Reviews:

5 out of 5 stars An Exceptional Recording of the Rarely Recorded Leon Minkus.......2005-10-03

"Don Quixote" premiered in Moscow, Russia on December, 14, 1869. It was created by the great Ballet Master and Choreographer Marius Petipa (creator of "The Sleeping Beauty" -1890, "La Bayadere" -1877, "Swan Lake" -1895, "Raymonda" -1898, the "Paquita Grand Pas Classique" -1881, "Harlequinade" - 1900 and "The Nutcracker" -1892 among many other masterpieces) becoming a great success that would live for over a century. The work was then mounted in St. Petersburg for the Czar's Imperial Ballet on November 9, 1871 in a far more lavish and serious production. "Don Quixote" was re-staged many times (during and after Petipa's lifetime) most notably by Alexander Gorksy, a student of Petipa, and later, Rostislav Zharakov. The ballet went on to become one of the corner stones of the Russian Ballet repertory, and has been staged the world over.

Recorded here is the score of "Don Quixote" performed by the Sofia National Opera Orchestra of Bulgaria, conducted by Nayden Todorov. The music contains all of the familiar additions by composers such as Vassily Solovyev-Sedoy, and Anton Simon, and is in Minkus's more or less orignal orchestration. Minkus's score can either sound really good or really bad depending on the manner in which it is performed, and Todorov's conducting gives the music a life that it can only have in the hands of a capable conductor of ballet music. His handeling of the score is so good in fact that this recording could even be used for a performance if need be.

Most other manuscripts of the Minkus' score outside of the Mariinksy Theatre (even in Russia) are either of very old hand-copied repetiteurs (musical copies) of the music, changing much of the instrumention, or of completely re-orchestrated versions such as those by John Lanchbery, done for Nureyev's stagings. But for now, to hear how really great a composer Minkus really was, and the elborate orchestrations of the orignal music (not to mention to see a phenominal ballet performance) watch the DVD/video of the Kirov/Mariinksy Ballet's staging of "Don Quixote.

There are only 3 other recordings in exsistence of the music of the full ballet "Don Quixote". The first being performed by the same orchestra as recording here, this time under the baton of the conductor Boris Spassov on the label Capriccio. That recording is of the same version of the music as the recording reviewed here. The second is of the John Lanchbery re-orchestations of the score as done for the Rudolf Nureyev staging for the Australian Ballet. It is available through the site of the Orchestra Victoria. The third, somewhat more obscure, is of the Kirov/Mariinsky Ballet's score, played by the Mariinsky Theatre Orchestra under the baton of the late Victor Fedotov (long time conductor of ballet performances at the Mariinsky). Unfortunately the second half of this recording is taken from a live performance. It is only available on the web page Classicalrecords.ru. I strongly reccomend these recordings to those that interested in the music of Minkus.

5 Stars!

4 out of 5 stars A problematic album in a couple of ways, but still appealing.......2005-01-17

Leon (Ludwig) Minkus (1829-1917) is mostly remembered for his collaborations with Marius Petipa & Leo Delibes (in the completion of La Source). A major Austrian-born Russian composer for the stage, his ballets (no fewer than fifteen in total) had some success especially in Russia (La Bayadere remains a repertoire work there). Pas de Deux from "Don Quixote" served Minkus' reputation well, although the ballet as a whole is not as lucky, and with reasons that are not so hard to fathom.

The ballet, written in 1869 in the three act version (used here), sort of belies Miguel Cervantes' fantastical tale. Listening to the score, it happens to be quite radiant, with colorful even exotic orchestral coloring and some brooding yet lovely melodic lines especially in the Prologue. The dances are tuneful and enjoyable particularly in Moreno (Act I, track 9) and Windmill (Act II, track 26). I cannot say that I was bored, at least not entirely, for the Spanish flavoring in the score is ear-catching. Yet the dramatic impetus is seriously lacking here. Turn to Delibes, Tchaikovsky, Glazunov, or Tcherepnin and witness the organic growth of the story-telling. But listening to this otherwise delicious score, my mind rests profusely on Richard Strauss in my longing for Minkus to portray not only the fantastical, but also the hallucinatory nature of Don Quixote's persona. That's not quite forthcoming. For example, at the windmills scene where Don Quixote attacks the windmills thinking they're giants, Minkus treatment of it (Act II (CD 2, track 8)) is not as compelling as Strauss' imaginative depictions. Also, what happened with "The Battle with the Sheep" or "The Contest with the Enchanters?" But, notwithstanding the aforementioned "deficiencies", Minkus demonstrates that he have a number of tricks up his sleeves, and this ballet score ends up being more of an enjoyment than a disappointment.

And the right approach to the score will make all the difference, as what we have here in this otherwise spirited account courtesy of Nayden Todorov and the Sofia National Opera Orchestra. Their take is full of vitality and color (and I love the joy they bring forth especially in the Spanish numbers). But I also admire how `songful' they are in the more noble of divertissements; the subtlety bring forth in them are arresting. The recording, however, could have bring out the colorism of the work to fuller effects (the climaxes in particular suffers from the noticeably limited dynamic range). Furthermore, the booklet essay is far from spectacular (a very good synopsis, though the history behind the work and Minkus needs expansion and sharpness).

Nevertheless, since there are now two rival recordings of the work (the other featuring Spassov with the same Sofia orchestra under the Capriccio label), I don't see why this ballet should be prevented from being staged, providing, of course, a certain degree of toleration of Minkus treatment to Cervantes' famous work of literary art. With Minkus' lively and sparkling music sprinkling all over the score, however, getting it performed should not be too difficult of a sale to woo in an audience for what may likely be a very fun evening at the theatre.

5 out of 5 stars From a ballerena.......2004-11-11

I love this CD for its feeling and clarity. I find this recording easy to dance to and fun to litsen to. I hope that all music/ballet lovers will give themselves a chance to listen to this recording. It is one of the few that I have found that was recorded as a ballet, not just a nice piece of music. It is therefore, in my opinion, easier to listen to and visualize what would be seen on stage.

5 out of 5 stars Very good for dancing!.......2004-06-15

I have this ballet in video with Bolshoj Teater but this recording is more "live" and more cheaper. The tempos are very good for dancing and it sounds realy beautiful! Ballet dancers should buy it!

5 out of 5 stars Wonderful Music!.......2004-03-23

I love this ballet. The music is really wonderful, and the performers show, that they understand what is a ballet music! I love to listen to the sailor`s dance and the flower waltz!
Night Prayers
Average customer rating: 5 out of 5 stars
  • not as short as the other "singles"
  • Mysticism, Hauntingly and Atmospherically Intoned by Kronos
  • An uneven but intriguing collection with Gubaidulina's 4th
  • a deep, reverent journey through central asia
 Night Prayers

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

QuartetsQuartets | Chamber Music | Classical | Styles | Music
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ASIN: B000005J2X
Release Date: 1994-09-06

Tracks:

  1. Kongerei - Traditional
  2. Lacrymosa
  3. Mugam Sayagi
  4. Quartet No. 4 - Sofia Gubaidulina
  5. A Cool Wind Is Blowing
  6. K'vakarat
  7. Night Prayers - Giya Kancheli

Amazon.com essential recording

One of the five most acclaimed New Music chamber ensembles in the world, Kronos Quartet has recorded music from every period, from Machaut to Wagner to Hendrix to Dun. Their Night Prayers collection--which features mainly Eastern European composers--peaks with Sofia Gubaidulina's bristling Quartet No. 4. Expert at traditional instrumentation and composition, Gubaidulina scripts the piece's early parts with vaguely balalaika-like tones that morph into mid- range, stretched notes. The quartet's underlying structure becomes a skittering display of plucked, repetitive notes against which the strings variously slash, sweep, and chatter. Gubaidulina's summation of late-century chamber work is more than striking. --Andrew Bartlett

Customer Reviews:

5 out of 5 stars not as short as the other "singles".......2007-05-17

the music on this album evokes images like the cover presents;dark,ambient,questioning,and definately surreal.well worth the purchase!

5 out of 5 stars Mysticism, Hauntingly and Atmospherically Intoned by Kronos.......2005-09-17

The Kronos Quartet will doubtlessly maintain a unique place in music history as the most innovative, risk-taking, humanistic fine group of musicians ever known. Not only is their ability to perform standard works excellent, but they have always stretched that virtuosity to explore rarely heard and even commissioned works by composers including some not known to the Western world at least.

NIGHT PRAYERS is as fine an example of their artistic strategy as any of the many recordings they have made. Though the works on this recording are truly meant to be performance art (the lighting and placement of the quartet and soloists on stage is a prime importance), this brilliant CD at least captures for posterity the beauty of the works they have performed.

The driving force of these varied works is to present music that is spiritual in a way many of us have never experienced. The works are primarily from the depths of Russia and Siberia and Eastern European countries influenced by the nomadic oriental sounds of a world practically unknown to us. Opening the recital is 'Kongerei', a traditional work from Tuva in Mongolia and is fascinatingly intoned by throat singers capable of producing multiple pitches (allowing themselves to harmonize with themselves!) simultaneously with the cello providing the ground bass.

This strangely haunting work is followed by Uzbekistani Dmitri Yanov-Yanovsky's setting of the 'Lacyrmosa'. The soloist, aptly, is Dawn Upshaw whose quiet clearly focused voice is surrounded in beauty by the minimalist quartet writing. 'Mugam Sayagi' by Azerbaijani Franghiz Ali-Zadeh is based on 16th century secret language of Islam and is primarily a solo cello work with minor filigree work from the violin. The stunning Quartet No. 4 by the brilliant Russian composer Sofia Gubaidulina and combines pre-recorded music (bouncing rubber balls) and live music it a manner that never approaches parody. It is simply stunning writing.

'A Cool Wind Is Blowing' by Tigran Tahmizyan is Armenian in style and in derivation and utilizes the Armenian wooden oboe (duduk) as played by Djivan Gasparian to reveal the poetry. The 'K'vakarat' by Osvaldo Golijov who, though born in Argentina, is from Russian Jewish parents and thus his composition for Cantor (Mikail Alexandrovich) and quartet fits well into this collection of music form the Steppes. The final work is the most mystical and beautiful for this listener. 'Night Prayer' by Georgian Giya Kancheli is not only a wondrous work for string quartet, it also adds voices at the end, voices of children singing 'Lord, hear my voice, Lord'. The use of silences is breathtaking.

This is simply one of those unusual recordings that deserves a wide audience. It is food for the mind, the soul, and the spirit. Highly Recommended. Grady Harp, September 05

4 out of 5 stars An uneven but intriguing collection with Gubaidulina's 4th.......2005-06-07

NIGHT PRAYERS is a collection of pieces performed by Kronos Quartet whose binding theme is Central Asia. With the exception of Osvaldo Golijov, hailing from Argentina but of Russian-Jewish heritage, all the composers represented here were born in the former Soviet republics east of the Black Sea.

The disc opens with "Kongerei", a traditional song from Tuva sung by the Throat Singers of Tuva with the simplest of accompaniment by Kronos. The song is a lament for the Tuvans who, because of the arbitrary nature of international borders, are stuck in China unable to see the whole breadth of their ancestral homeland. While it is entertaining, the inclusion of this song smacks of world-music crossover gimmickry.

"Lacrymosa" by Uzbekistani composer Dmitri Yanov-Yanovsky is a frenetic piece for string quartet and soprano, based on a portion of the "Dies Irae" sequence of the Requiem Mass. Dawn Upshaw performs the vocal part. The texture of the work is reminiscent of the oeuvre of Arvo Part, but more astringent. I was quite impressed by the piece and look forward to hearing more of the work of Yanov-Yanovsky.

The Azerbaijani composer Franghiz Ali-Zadeh contributes "Mugam Sayagi", inspired by the Azerbaijani tradition of disguising songs of love from a man to a woman as a hymn to their god. The work is elegantly structured, a long drone from the cello representing a morning call to prayer before the rest of the quartet responds in passionate dance-like music and cadenzas, and finally a return to solo cello as an evocation of the evening call to prayer. This is a compelling work, probably the most pleasant surprise on the disc, though a bit overlong.

Sofia Gubaidulina's "String Quartet No. 4" is, I believe, the most important of the pieces here. This Russian-Tartar composer is one of the greatest artists (and saints) of our time, and her music is Christian with a sincerity and orthodoxy unmatched in contemporary repetoire by anyone but Messiaen. While much of Gubaidulina's work is immediately rewarding, such as her masterpiece JOHANNES-PASSION or her sympony "Stimmen Verstummen", her string quartets are difficult. This quartet, written in 1993, begins with a recording played of rubber balls bouncing on strings, then the use of lights of various colours (which listeners of this CD miss out on), and then finally the string quartet begins to play. The use of a recording which the performers have to answer may have been inspired by Nono's piece "La lontananza...", which Gubaidulina helped realise three years before. However, Nono's work is a dispassionate exploration of various timbres, while Gubaidulina's is rapture and ecstasy.

The Armenian musical tradition is represented here by Tigran Tahmizyan's piece "A Cool Wind is Blowing" for string quartet and duduk, a type of flute, here performed by Djivan Gasparian. The song is based on a folk song, a remnant of the Armenian culture that flourished before Muslim and Soviet domination, but the string quartet plays--almost at right angles to the flute part--a series of throughly modern sounds. It is quite short, under four minutes, and there is not much to say about it.

Osvaldo Golijov's "K'vakarat" was commissioned for the dedication of the U.S. Holocaust Museum in Washington D.C. It is centred around a Hebrew prayer sung during the High Holidays, and movingly sung here by the cantor Mikhail Alexandrovich. The cantor stands in worship of God, but the string quartet's role is meant to provide resistance. "Starting with Jakov who fought with God's angel," writes Golijov, "I have always admired the rebels." The piece stands in strong contrast with Gubaidulina's, for hers is a work of praise while Golijov's is a piece of doubt.

The disc closes with Giya Kancheli's "Night Prayers", at 23 minutes the longest piece here. For most of its length it is for unaccompanied string quartet, but in the last couple of minutes a recording is use of a male choir and boy soprano singing "Domine, exaudi vocem meam, Domine." The only other work I have heard by this Georgia composer is "Styx", which I find quite pleasant, but this piece neither touches the heart nor dazzles with technical innovation, and represents the worst parts of the "holy minimalism" genre.

I am a passionate admirer of the music of Sofia Gubaidulina, and think that this disc is worth buying just to obtain a recording of her fourth string quartet. Beyond that, however, this is a fine opportunity to learn about Central Asian composers who have embraced Western music but have brought along something unique from their own national traditions.

5 out of 5 stars a deep, reverent journey through central asia.......2001-04-11

This collection from the Kronos Quartet presents works from Tuva in Western Siberia, Uzbekistan, Azerbaijan, Armenia, Georgia, and Russia, and includes Jewish, Islamic and both Catholic and Orthodox Christian themes.

The Throat Singers of Tuva create a ritual opening to the sacred with their opening "Kongerei." You'll have to turn up the volume to hear the lovely but faint soprano voice of Dawn Upshaw singing "Lacrymosa," from the Catholic mass. "Mugum Sayagi," by Franghiz Ali-Zadeh, an Azeri woman composer, begins softly, and then breaks out in virtuosic cadenzas, expressing "the ecstatic longing of a man for a woman expressed as the love of God," an example of the secret Azeri musical tradition of the 16th century used to evade Islamic strictures. Sofia Gubaidulina, the Russian/Tartar woman composer, contributes her masterful "Quartet No. 4" to the album, the most complex, modern piece here, and absolutely wonderful, though a little out of place with the other more folk-influenced works. "A Cool Wind Is Blowing," by the Armenian composer Tigran Tahmizyan, is my personal favorite -- only 4 minutes long, based on an ancient folk tune, it is haunting and memorable. "K'VARAKAT" features the lovely vocals of a Jewish cantor, and was commissioned for the dedication of the U.S. Holocaust Memorial Museum in Washington DC. Finally, the title piece, Kancheli's "Night Prayers," is a mournful and beautiful work that evokes "sadness, compassion and hope" in the words of the Georgian composer.

There is much silence and space here, evoking the desert, the mountains, and the steppe. The album is powerfully effective if you surrender to its dark, somber mood. NIGHT PRAYERS is tremendously relevant nowadays, addressing the common human condition across cultures and faiths. It could not be more ideal to accompany reflection and meditation on compassion, tolerance, and PEACE.
Kancheli: Styx, Gubaidulina: Viola Concerto
Average customer rating: 4.5 out of 5 stars
  • Unique viola concerto by Kancheli
  • Great Contemporary Classical Music
  • A fantastic showcase of the viola and its noteworthy player
  • Kancheli's Styx is a masterpiece
  • Kancheli's thrill ride, Gubaidulina's intense inward journey
 Kancheli: Styx, Gubaidulina: Viola Concerto
Giya Kancheli , Sofia Gubaidulina , Yuri Bashmet , Valery Gergiev , and Orchestra of the Mariinsky Theatre
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Gubaidulina, SofiaGubaidulina, Sofia | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
All Works by KancheliAll Works by Kancheli | Kancheli, Giya | ( K ) | Featured Composers, A-Z | Classical | Styles | Music
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ViolaViola | Strings | Instruments | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
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  5. Yuri Bashmet (Viola) : Brahms;Shostakovich

ASIN: B0000631NT
Release Date: 2002-05-14

Tracks:

  1. Kancheli: Styx
  2. Gubaidulina: Concerto For Viola And Orchestra

Amazon.com

Kancheli's Styx casts the viola as the mythological river that bridges life and death, the finite and the infinite. Typical of Kancheli's works, it's full of silences, long stretches of delicate pianissimo music, and eruptions of massive blocks of orchestral (and in this instance, choral) sound. Time seems suspended throughout its 34-minute length, and interest is held by the sound of Bashmet's viola, ranging from rich and deep to high, thin eeriness, and by the aura of mystery pervading the work. Gubaidulina's Viola Concerto shares some of those characteristics. It opens with a questioning viola solo and a halting, tentative-sounding orchestra, each punctuated by pregnant silences. Bashmet's viola is center-stage for most of the work and he plays with rapt concentration, bringing out the contrasts between light and shade that are a central motif of the work. Gubaidulina's Concerto shares Kancheli's sense of mystery, but her music has a tougher core. Both pieces are significant additions to the repertory, and it's hard to imagine better performances than those of Bashmet, Gergiev, and the other musicians. --Dan Davis

Customer Reviews:

5 out of 5 stars Unique viola concerto by Kancheli.......2006-08-27

I fear that you will rarely have a chance to hear this wonderful music in a concert hall. There is simply too much work in this, the length (>30 minutes), choir and orchestra, romantic music with very tricky "conductor's traps", etc. But what a great music it is! Bashmet was made for this music, the other performers, including a pianist, are of exceptional quality as well. Go buy it now even if, or especially if, you think you don't like modern classical music!

4 out of 5 stars Great Contemporary Classical Music.......2005-08-02

Styx is a great piece, written by the Georgian composer Giya Kancheli in 1999. It is written for Viola, Choir, and Orchestra, and is dedicated to Yuri Bashmet. Bashmet is the world's greatest Violist alive today, and he performs this work excellently on this recording. The music is very beautiful, and along with Simi and Mourned By The Wind, is serving as my introduction to Kancheli's music. There is a serious flaw in the piece, and that is that it is designed for performance in a concert hall, not for playing on your CD player. It switches between very loud and extremely quiet sections. The quiet sections make up most of the piece, but they are very hard to hear without turning the volume up high, but you'll pay when the loud sections very suddenly pop in, often for only a few seconds. I love his use of dynamics, but it is not well suited to a CD player. I love listening to this piece despite that, but I am unable to listen to it if there is background noise around because it will drown out the beautiful quiet parts. The last two minutes are especially quiet, and then the finishing chord comes out of nowhere very very loud. Yes I am "spoiling" the surprise of it for you, but it will still catch you off guard despite my warning.

As for the Orchestra, Choir, and the soloist, they all do an excellent job. The choir fills its role quite well, and does not try to dominate the music, and is content to serve as backup for Bashmet's playing. Whatever you do, DO NOT buy a recording of this piece with anyone other than Bashmet performing it.

Gubaidulina's concerto for Viola was also written specifically for Bashmet. This piece gives the performer a lot of leeway in choosing the tempo and even sometimes the pitch as well. It is often slow moving, allowing Bashmet's beautiful playing to shine. This piece showcases Bashmet's playing a lot more than Kancheli's. It has a lot of quieter parts at the start with unaccompanied or sparsely accompanied Viola, but these parts are still audible, unlike many parts in Kancheli's piece. It has plenty of space for solo Viola, possibly too much time, but the climax punctuated by the percussion is exciting. And if you appreciate Bashmet's abilities on Viola, you'll appreciate the first 20 minutes of the piece.

Gubaidulina's piece is beautiful, although not as beautiful as Kancheli's. It does not have the extreme quietness problems Kancheli's piece does. Both pieces are quite enjoyable, and I was split between giving this 4 or 5 stars. I really enjoy this CD, and it is one of the better CDs I have. I decided upon 4 stars because of the difficulty of listening to the first piece. I strongly recommend this CD.

4 out of 5 stars A fantastic showcase of the viola and its noteworthy player.......2004-05-15

This Deutsche Grammaphon disc--part of its "20/21" series of contemporary music--contains two works written especially for the viola virtuoso Yuri Bashmet. The first is Giya Kancheli's "Styx (for viola, mixed choir, and orchestra)" and the second Sofia Gubaidulina's "Concerto for viola and orchestra."

I bought the disc as a fan of Gubaidulina, but Kancheli's "Styx" was a pleasant surprise. It is an ethereal choral work of quiet lulls and brief exultations. Its themes appears to be death, what it takes away and what it leaves behind, and time. The names of Kancheli's deceased friends Alfred Schnittke and Avet Terterian figure prominently towards the end. The viola in this piece is meant to symbolise the river Styx itself, carrying along all that is past to a tranquil end. The recording is not, however, ideal. There is some background noise from time to time; apparently this is a live concert recording. The engineers have tried to hide the audience's applause, but the result sounds freakish and alien. The disc is also nearly unaudible in some places, and turning the volume high enough to perceive the quiet parts will have unfortunate consequences during the louder portions. The problem is that much of the work is performed pianissimo, and while it might have worked fine in the concert hall, it doesn't work out well in recording.

Gubaidulina's "Viola Concerto" is a thrilling work. It begins as a soft and pensive elaboration on the "DSCH" motif of her inspiration Dmitri Shostakovich interspersed with some lush layers of sound somewhat reminiscent of Bartok. About halfway through the piece, however, it is transformed into a dramatic and suspenseful exposition of percussion. The concerto is clearly a step in the evolution from Gubaidulina's "The Canticle of the Sun of St. Francis of Assisi", with its glittering chimes and light, to her "St. John Passion" and its thundering drums. Those two compositions are among the greatest works of Christian piety of our time, and this concerto follows not very far behind. Highly recommended listening.

Performances are top-notch. The Choir of the Mariinsky Theatre gives an excellent performance in "Styx", respecting the nebulous nature of the text and understanding that it must stay out of the viola's way. Valery Gergiev's sensitivity is commendable. His conducting of Gubaidulina's Viola Concerto is, as is to be expected from his other recordings of Gubaidulina's work, flawless. And what of Yuri Bashmet himself? His playing was very moving, and helps explain why so may critics use phrases like "finest violist of our time". There is nowhere on this disc where he seems less than perfectly sure of how to tackle the piece.

The liner notes are excellent, as they have been for most of DG's 20/21 series. It has descriptions of the two pieces, an interview with Bashmet, profiles of Bashmet and Gergeiv, and finally the text of "Styx". Gubaidulina seems to get little attention here, however, making me suspect that her Viola Concerto was added to the disc just to fill it out since "Styx" is relatively short.

This disc would probably make a poor introduction to Gubaidulina. Try her fine "Offertorium" disc on DG (in the same series) if you've never heard her work before, or maybe her JOHANNES-PASSION of 2000, which was also performed by the Orchestra and Choir of the Mariinsky Theatre conducted by Gergiev. I don't know enough of Kancheli's work to make a comparison, but my curiosity is piqued and I will be searching other works by him. All in all, this disc is worth picking up and will not disappoint.

5 out of 5 stars Kancheli's Styx is a masterpiece.......2004-03-23

Kancheli's Styx is an amazingly beautiful piece of music. Sometimes, I just can't believe that someone can actually write something so beautiful. Kancheli is one of the most important composers of our time, and this he has proven in the past with Lament, Simi, a la Duduki (which I wholeheartedly recommend) and re-affirms with Styx.

The Viola work by Gubaidulina is perhaps intelectually and conceptually stimulating, but in fact plain boring. *Soul-less* is the word that describes it best.

4 out of 5 stars Kancheli's thrill ride, Gubaidulina's intense inward journey.......2002-07-29

Kancheli's "Styx" -- 3 stars) This 1999 composition by Kancheli has the tonality of a late Romantic work, but a postmodern structure. Rather than a smoothly flowing river, it strikes me as more like a "scary" amusement park ride, one of them where you travel through some setting in the dark and there's a monster or a splash of water behind every turn. In "Styx" these are the loud punctuations from orchestra and chorus. In between are very quiet, lyrical passages featuring Bashmet's viola. It's not a great vehicle for him, though, due to these extreme dynamics -- if you turn the volume up enough to hear him clearly, you'll damage your ears with each blast. I understand that this "eruption" device is typical of Kancheli -- curious that it is also used by post-rock bands like Mogwai and Godspeed You Black Emperor. I find it superficial and unaffecting.

Gubaidulina's "Concerto for Viola and Orchestra" -- 5 stars) This piece, from 1996, is full of anguish, grandeur, complex tonality and structural development, and virtuoso passages which Bashmet plays with the utmost power and beauty. The only Gubaidulina I had heard previously were some of her string quartets (by Kronos and Arditti) -- this concerto confirms for me that she is an outstanding composer of the 20th century! Gubaidulina and Kancheli can also be found together on the Kronos Quartet album from 1994, "Night Prayers," and there as here, I am more impressed by Gubaidulina.

The performances by Yuri Bashmet on viola, conductor Valery Gergiev, the Orchestra of the Mariinsky Theatre, and the St. Petersburg Chamber Choir are superb. DG's packaging is also gorgeous -- their 20/21 series is beginning to build some real depth.
Giordano: Fedora
Average customer rating: 5 out of 5 stars
  • Tebaldi/Di Stefano Shine
 Giordano: Fedora

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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  1. Verdi: Otello

ASIN: B000055X2I
Release Date: 2001-02-06

Tracks:

  1. Act One: Quattro! Sei! - Mariano Caruso/Gennaro Ciocca/Luigi Padillo/Renata Tebaldi/Vittorio Buccini
  2. Act One: Rigida E Assai La Sera...O Grandi Occhi Lucenti - Renata Tebaldi/Mariano Caruso
  3. Act One: La Camera Del Conte! - Giovanni Amedeo/Mariano Caruso/Renata Tebaldi/Mario Cioffi/Mario Sereni/Enrico Campi
  4. Act One: Egli Mi Disse: 'Andiamo Al Tiro!' - Enrico Campi
  5. Act One: Quelle Macchie Vermiglie - Mario Sereni/Giovanni Amedeo/Mariano Caruso/Renata Tebaldi
  6. Act One: Continuate...Dite, Coraggio - Renata Tebaldi/Giovanni Amedeo/Mariano Caruso/Vittorio Buccini
  7. Act One: Altra Volta Quell'uomo Vedesti? - Giovanni Amedeo/Vittorio Buccini/Renata Tebaldi/Mariano Caruso/Teatro San Carlo Chor, Naples
  8. Act Two: Signori, Vi Presento Lazinski - Sofia Mizzetti/Mariano Caruso/Mario Frosini/Renata Tebaldi/Giuseppe Di Stefano/Mario Sereni
  9. Act Two: Vi Presento Lazinski - Sofia Mizzetti/Renata Tebaldi/Mario Sereni/Mariano Caruso/Mario Frosini
  10. Act Two: La Donna Russa E Femmina Due Volte - Mario Sereni
  11. Act Two: Amor Ti Vieta - Giuseppe Di Stefano/Mario Frosini/Renata Tebaldi/Sofia Mizzetti
  12. Act Two: Dimmi, Dunque Che Fu? - Renata Tebaldi/Giuseppe Di Stefano
  13. Act Two: Portentoso! - Sofia Mizzetti/Mariano Caruso/Mario Sereni/Renata Tebaldi

Tracks:

  1. Act Two: Intermezzo - Teatro San Carlo Orch, Naples/Arturo Basile
  2. Act Two: Grech! I Vostri Uomini? - Renata Tebaldi/Giovanni Amedeo
  3. Act Two: Silenzio!...E Lui! - Renata Tebaldi/Mariano Caruso
  4. Act Two: Mia Madre, La Mia Vecchia Madre - Giuseppe Di Stefano/Renata Tebaldi
  5. Act Two: Vedi, Io Piango - Giuseppe Di Stefano/Renata Tebaldi
  6. Act Three: Dice La Capinera - Teatro San Carlo Chor, Naples
  7. Act Three: Quanto Sei Bella! - Giuseppe Di Stefano/Renata Tebaldi/Sofia Mizzetti
  8. Act Three: Chi Vedo! De Siriex! - Sofia Mizzetti/Renata Tebaldi/Mario Sereni
  9. Act Three: Testolina Sventata! - Renata Tebaldi/Mario Sereni/Sofia Mizzetti
  10. Act Three: Dio Di Giustizia - Renata Tebaldi/Giuseppe Di Stefano
  11. Act Three: Muta E Mia Madre - Giuseppe Di Stefano/Renata Tebaldi
  12. Act Three: Loris, Mio Loris! - Renata Tebaldi/Giuseppe Di Stefano
  13. Act Three: Boroff? - Giuseppe Di Stefano/Renata Tebaldi
  14. Act Three: E Vano! La Morte E Qui - Renata Tebaldi/Giuseppe Di Stefano

Customer Reviews:

5 out of 5 stars Tebaldi/Di Stefano Shine.......2001-02-18

This is probably one of the MOST pirated recordings by Renata Tebaldi. First of all, because she NEVER recorded the role, second because of the tremendous work by Di Stefano.THIS time, the performance is remastered from the ORIGINAL tapes, not from an LP. FORGET those other CD editions of this, GRAB this one!! Basile's conducting is superb, and this opera has many fascinating musical moments, it's no wonder so many wish Renata had recorded this role. This is the ONLY extant recording of Tebaldi in this role, at least until, or if, the Chicago performances with Bjorling ever surface. Do yourself a favor, get this.
Super Artists on Super Audio, Vol. 3 [Hybrid SACD]
Average customer rating: Not rated
    		Super Artists on Super Audio, Vol. 3 [Hybrid SACD]

    Manufacturer: Channel Classics Nl
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    ASIN: B0009QQ6MG
    Release Date: 2005-09-13

    Tracks:

    1. Anon: Allegro - Not Listed
    2. Rondo Allegretto - Bart Schneemann
    3. Excerpt From 'The Canticle Of The Sun' - Peter Wispelwey
    4. Gigue/Allegro - Amsterdam Loeki Stardust Quartet
    5. Taquito Militar - Alfredo Marcucci
    6. Lux Aeternia - The Gents
    7. Andante - Pieter Wispelwey
    8. St. John Passion - The Netherlands Bach Society
    9. Homenaje A Revueltas - Ebony Band Amsterdam
    10. Modere - Florilegium
    11. Capriccio/Finale - Jorgen Van Rijen
    12. Musickes Sweetest Joyes - Mieneke Van Der Velden
    13. Notre Pere - The Gents
    14. Allegro Vivace - Dejan Lazic
    15. Andantino Cantabile - Rachel Podger
    16. Adaigo - Bart Schneemann
    17. Amarilla Mia Bella - Fred Jacobs
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    The Masterpiece Collection: Bach
    Average customer rating: 5 out of 5 stars
    • Excellent
    • Probably the best collection of works by J.S. Bach.
    		 The Masterpiece Collection: Bach

    Manufacturer: Unison Records
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000005T9J
    Release Date: 1997-10-07

    Tracks:

    1. Toccata & Fugue in d, BWV 565 - Otto Winter
    2. Brandenburg Con No.3 in G, BWV 1048: Allegro - Phil Slavonica/Pribil
    3. Brandenburg Con No.3 in G, BWV 1048: Adagio - Phil Slavonica/Pribil
    4. Brandenburg Con No.3 in G, BWV 1048: Allegro - Phil Slavonica/Pribil
    5. Italian Con, BWV 971: Moderato - Dubravka Tomsic
    6. Italian Con, BWV 971: Andante - Dubravka Tomsic
    7. Italian Con, BWV 971: Allegro vivace - Dubravka Tomsic
    8. Con No.1 in a for Vn, Sts and Bc, BWV 1041: Allegro - J. Brezina/Camerata Labacencis/Duvier
    9. Con No.1 in a for Vn, Sts and Bc, BWV 1041: Andante - J. Brezina/Camerata Labacencis/Duvier
    10. Con No.1 in a for Vn, Sts and Bc, BWV 1041: Allegro assai - J. Brezina/Camerata Labacencis/Duvier
    11. Air on the G str, BWV 1068, 2nd Movement from Orch Ste No.3 in D - London Festival Orch/Scholz
    12. From St. Matthew Passion, BWV 244: O Haupt voll Blut und Wunden - Orch and Chor of Radio Sofia/Marinov
    13. From St. Matthew Passion, BWV 244: O Mensch, bewein dein Sunde gro- Orch and Chor of Radio Sofia/Marinov

    Customer Reviews:

    5 out of 5 stars Excellent.......2007-05-12

    I bought this CD to replace my earlier copy that got scratched. I bought this for 25 cents the first time, via a "Grand Union Supermarket" store display. I wish I ahd bought them all since it was so great. I listened to it for 1 decade, and I'm still listening to it now and then. The performances were better than any other I've ever heard and it was recorded in a mix of analogue and digital so maybe that had something to do with it. Great cd.

    5 out of 5 stars Probably the best collection of works by J.S. Bach........1999-06-25

    This is probably the most comprehensive demonstration of the skill and genius of Johann Sebastian Bach. To the casual listener, there may be songs on this album that are familiar, but up to now unrecognized.

    Toccata & Fugue in D minor. (Track 1) Most people are familiar with the opening bars of this song thanks to various movies and 'haunted houses'. Otto Winter showcases Bach's point-and-counterpoint organ composition without flaw.

    Brandenburg Concerto (Tracks 2,3,4) Another movie soundtrack favorite. Popular for its feeling of refined civility. This string arrangement is the finest of Bach's larger projects.

    Italian Concerto (Tracks 5,6,7) The aspirations of most classically trained pianists include the ability to play these pieces. Bach combines clean structure with incredible complexity. The resulting compositions are nothing less than masterpieces.

    Concerto #1 in Am for violin, strings, and basso (Tracks 8,9,10) Another showcase of genius in string arrangements. Easy to listen to, difficult to forget. These tracks should appeal to purists as well as casual listeners.

    Air on the G string (Track 11) This piece was recently revamped into a pop song, but is heard on this track the way it SHOULD be played. Purposeful, and deliberate with a real orchestra, not electronic instruments. The London Festival Orchestra delivers an uncompromising performance.

    From The Passion According to St. Matthew (Tracks 12, 13) Not to be restrained to organ, piano, or string arrangements, Bach adds another dimension to his musical diversity with this orchestral and choral composition. These pieces opened the doors to fame for J.S. Bach, and after listening to these tracks, it is easy to understand why.

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