From New York City [Import]

Track Listings

1. Traigo Mi Guapacha

2. Muñequita de Plastico

3. Soñar

4. Tocando la Novel

5. Baila Mi Cumbia

6. Batalla de los Barrios

7. Maria

From New York City,Orquesta Novel,Fania,Latin,Tropical

Tracks:

Give My Regards To Broadway- Joel Grey
Swanee- Al Jolson
When The Moon Shines On The Moonshine- Bert Williams
A Pretty Girl Is Like A Melody- John Steel
My Man- Fanny Brice
Fascinating Rhythm- Fred Astaire, Adele Astaire
If You Knew Susie (Like I Know Susie)- 78rpm Version Eddie Cantor
Someone To Watch Over Me- Gertrude Lawrence
Bill- 78 rpm Version Helen Morgan
Ol' Man River- Paul Robeson
Ain't Misbehavin'- Louis Armstrong & His Orchestra
Ten Cents A Dance- Ruth Etting
Body And Soul- Libby Holman
Brother, Can You Spare A Dime- Bing Crosby
Night And Day- Fred Astaire
Heat Wave- Ethel Waters
Smoke Gets in Your Eyes- Tamara
You're The Top- Ethel Merman
Summertime- Anne Brown
September Song- Walter Huston
My Heart Belongs To Daddy- Mary Martin
It Never Entered My Mind- Shirley Ross
Bewitched, Bothered, Bewildered- Vivienne Segal
Oh, How I Hate To Get Up In The Morning- Irving Berlin
Oh, What a Beautiful Mornin'- Alfred Drake

Tracks:

New York, New York- Cris Alexander,Adolph Green,John Reardon
If I Loved You- John Raitt,Jan Clayton
Come Rain Or Come Shine- Ruby Hill,Harold Nicholas
There's No Business Like Show Business- Ensemble
How Are Things In Glocca Morra? From "Finian's Rainbow"- Ella Logan
Once In Love With Amy- Ray Bolger
Wunderbar- Alfred Drake,Patricia Morison
Some Enchanted Evening- Ezio Pinza
Lost In The Stars- Todd Duncan
Diamonds Are A Girl's Best Friend- Carol Channing
Luck Be A Lady- Robert Alda,Guys
Getting To Know You- Gertrude Lawrence
Who Cares?- Jack Carson,Betty Oakes
Stranger In Paradise- from " Kismet" Doretta Morrow,Richard Kiley
Ballad Of Mack The Knife- Gerald Price
Hey There- from "The Pajama Game" John Raitt
Whatever Lola Wants- Gwen Verdon
I Could Have Danced All Night- Julie Andrews
Standing On The Corner- from "The Most Happy Fella, 1956" Shorty Long,John Henson,Alan Gilbert
The Party's Over- Judy Holliday
Glitter And Be Gay- Barbara Cook
Tonight- Larry Kert, Carol Lawrence

Tracks:

Seventy-Six Trombones- Robert Preston
I Enjoy Being A Girl- from "Flower Drum Song, 1958" Pat Suzuki
Everything's Coming Up Roses- Ethel Merman
My Favorite Things- from "The Sound Of Music" Mary Martin
Put On A Happy Face- from "Bye Bye Birdie" Dick Van Dyke
Try To Remember- Jerry Orbach
Camelot- from "Camelot" Richard Burton
Love Makes The World Go 'Round- Anna Maria Alberghetti
I Believe In You- Robert Morse And Co.
The Sweetest Sounds- Diahann Carroll,Richard Kiley
Comedy Tonight- Zero Mostel
What Kind Of Fool Am I?- Anthony Newley
As Long As He Needs Me- Georgia Brown
Hello, Dolly!- Carol Channing,Cast
People- Barbra Streisand
Anyone Can Whistle- from "Anyone Can Whistle" Lee Remick
If I Were A Rich Man- Zero Mostel
Night Song- Sammy Davis, Jr.
The Impossible Dream- Richard Kiley
If My Friends Could See Me Now- Gwen Verdon
Open a New Window- from Mame Voice

Tracks:

Willkommen- from "Cabaret" Joel Grey
Let The Sunshine In- James Rado,Lynn Kellogg,Melba Moore,Cast
I'll Never Fall In Love Again- Jill O'Hara,Jerry Orbach
The Ladies Who Lunch- from "Company" Elaine Stritch
Tea For Two- Roger Rathburn,Susan Watson
I'm Still Here- Yvonne De Carlo
I Don't Know How To Love Him- Yvonne Elliman
We Go Together- Adrienne Barbeau,Barry Bostwick,Walter Bobbie,Cast
Corner Of The Sky- John Rubinstein
Send In The Clowns- Glynis Johns
Ease On Down The Road- Stephanie Mills,Tiger Haynes,Ted Ross,Hinton
One- from "A Chorus Line" Cast
All That Jazz- Chita Rivera,Ensemble
Tomorrow- Andrea Mcardle
Don't Cry For Me Argentina- Patti Lupone
Come Follow The Band
Lullaby Of Broadway- Jerry Orbach
And I'm Telling You I'm Not Going- Jennifer Holliday
The Bells Of St. Sebastian- Raul Julia

Tracks:

Memory- Betty Buckley
I Am What I Am- George Hearn
Move On- Bernadette Peters,Mandy Patinkin
Do You Hear The People Sing?- Michael Maguire,Cast
The Music Of The Night- Michael Crawford
You're Nothing Without Me- James Naughton,Gregg Edelman
The American Dream- Jonathan Pryce,Cast
Doctor Jazz- Gregory Hines,Company
With One Look- Glenn Close
On Broadway- Adrian Bailey,Frederick B. Owens,Ken Ard,Victor Trent Cook
Le Jazz Hot- Julie Andrews,Ensemble
Seasons Of Love-
Hakuna Matata- Max Casella,Tom Alan Robbins,Scott Irby-Ranniar,Jason Raize
I Wanna Be A Producer- Matthew Broderick,Ensemble
Dancing Queen- Louise Plowright,Jenny Galloway
Good Morning Baltimore- Marissa Jaret Winokur
Movin' Out- Michael Cavanaugh,Band
I Go To Rio- Hugh Jackman,Company
Defying Gravity- Kristin Chenoweth,Idina Menzel

Customer Reviews:

Fabulous for any Broadway-lover.......2007-01-30

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

Top Shelf.......2007-01-04

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

TERRIFIC CD'S.......2006-03-23

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

Great Collection of Broadways greatest Songs .......2005-06-14

This Collection was perfectly made it has almost all the most famous Broadway songs on this 5 cd set. The Music is great and has Broadways greatest treasures like "Memory""People""With One Look""Give my regards Too Broadway" just to name a few of this numerous cd set with over 100 songs. This is a great buy if you like musicals or The music of Broadway

Great Compilation!.......2005-01-17

If you are a fan of the Broadway Musicals, this is a collection that you should purchase. Since I got the 5 disc set I've enjoyed listening to it. The majority of the songs are done by the original singers. The collection is priceless considering that you will have over 100 songs from popular musicals since the beginning of Broadway

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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What to Listen for in Music
Study of Orchestration, Third Edition
The Life and Works of Ludwig van Beethoven
The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Mack The Knife - Nick Cave
Ballad Of The Soldier's Wife - P.J. Harvey
Alabama Song - David Johansen
Youkali Tango - Teresa Stratas
Lost In The Stars - Elvis Costello
Pirate Jenny - Lotte Lenya
Speak Low - Charlie Haden
Oh, Heavenly Salvation - The Persuations
Lonely House - Betty Carter
Surabaya- Johnny - Teresa Stratas
Furchte Dich Nicht - Mary Margaret O'Hara
September Song - Lou Reed
Mack The Knife - Bertolt Brecht
What Keeps Mankind Alive? - William S. Burroughs

Customer Reviews:

some brilliant renditions, but can't quite all mix together.......2006-10-19

I like the spirit of this album, which is to let the music of Kurt Weill attach itself to the many worlds it came from. This was classical music that also used elements of popular music at the time, all with a very dark and almost mechanical tone. So it would seem fitting to have exquisite voices like Teresa Stratas rub elbows with darker elements like Nick Cave in this collection. There are also the jazz influences developed by Charlie Haden and Betty Carter.

In all, there are some brilliant interpretations of Weill here. I am a fan of Cave's "Mack the Knife" and David Johansen's "Alabama Song," and how can someone NOT like Lotte Lenya herself on "Pirate Jenny" and the drolling of the immortal William S. Burroughs talking through "What Keeps Mankind Alive?"

But other tracks feel to be just too short of brilliance. I love that Lou Reed tries to turn "September Song" into a kind of rock ballad, almost a VU "It Was a Pretty Good Year," but the rendition seems a little short of energy and falls flat after a while. Elvis Costello, though magnificent as an overall artist, just doesn't bring new life to "Lost in the Stars."

Perhaps the problem in the end that the choices were a little too much of the Top 40 Weill (if there really can be such a term). These are songs that have for a long time been regarded as the best of Weill, and it might have furthered the purpose of his music to find new gems and bring them into the sunlight.

Cool and Camp.......2006-08-24

This is a very biased review- I originally had much of Weill's work on cassette tape- way back in the olden days- before CD's- so I am already very partial to many of the tracks on this CD- I would recommend it not only to Kurt Weill fans, and the fans of the various artists featured, but I would also strongly recommend this to anyone who likes artsy, camp, fun burlesque, Bohemian European stuff. The record, even though performed by contemporary artists still retains much of it's zeitgeist, it evokes the era in which Weill was writing and it rounds out any great eclectic record collection. It's a great musical discovery for fans of all sorts of genres, and EVERYONE should own at least one recorded arrangement of "Mack The Knife". (You know, for parties and stuff!)

September Song Music of Kurt Weill.......2006-08-22

Songs from the film-documentary done by various artists. Excellent choice if you like Mr Weill's music. I saw the film and always wanted the CD. Now I have and I recommend it highly.

It's a long time between January and December.......2004-06-11

Kurt Weill is one of those composers who juggles Jewish angst with Catholic guilt: and possibly vice versa. As a collection, it is nonpareil. Each interpretation becomes a definitive reading of the "song". Lord, it is one of the best assemblies of contemporary artists going. Lou couldn't be better; Ms O'Hara, in fine form, performs her deranged puppet-dance to the X. OK. An unknown. Roping-in, such a postmodern figure as, well, you-know-who, to orate Weill's lyrics is never less than exceptional. An amazing collection. Is there a DVD?

Paul

Ain't we Hip?!!?.......2003-07-23

This is the avant version of these songs, everything done with that Downtown fingers-across-the-blackboard screech. They even got Johanson doing it, which is no less than amazing. The sole exception is the Persuasions' "O Heavenly Salvation", but one song does not an album make.

Tracks:

Symphony No. 3: 1. Molto moderato
Symphony No. 3: 2. Allegro molto
Symphony No. 3: 3. Andantino quasi allegretto
Symphony No. 3: 4. Molto deliberator (Fanfare) - Allegro risoluto
Quiet City

Amazon.com essential recording

Late in his career, Leonard Bernstein returned to the greatest orchestral work by his lifelong friend, Aaron Copland, with a performance that eclipsed all others, including Bernstein's own previous recording of the Symphony no. 3 on Sony. Though Copland's stock still hadn't climbed back to its present height, Bernstein gave the music a grandeur that made you forget how much of a cliché the Fanfare for the Common Man--which was worked into the finale of the Third--can be. In fact, many of the world-stopping qualities Bernstein brought to his second Mahler cycle for Deutsche Grammophon seem much in evidence here, with the New York Philharmonic playing as though its collective life depended on it. --David Patrick Stearns

Customer Reviews:

The best Bernstein reading of a nearly great work.......2005-11-01

Copland met a sad end as the result of Alzheimer's, which set in fairly early (when he was about 70, I believe) but was carefully hidden from the public. Bernstein had been his lifelong champion, of course, and here he gives an elegaic, almost melancholy reading of the Third Symphony that is about a minute slower in each movement than his earlier, excellent version from 1966 with the same NY Phil.

There's no comparison betwen the two, given how much more detailed and expressive the 1985 DG version is, and how much better it is recorded. The Third just misses being a great work. It is in Copland's most populist idiom, the same as one hears in Appalachian Spring, but the material is thinner, less organized, ultimately not all that compelling despite many beautiful moments. Bernstein makes the very best of what's there, and his reading of Quiet City is incomparable--it brings tears to one's eyes. This recording stands as a wonderful, if somewhat sad, memorial to a great musical partnership.

Colossal performance!.......2005-01-07

This recording dates of Dec 1985 . It is a live recording from Avery Fisher Hall and it constitutes a true musical document . Bernstein , conducting the N.Y.P made a penetrating version of this fundamental symphony of this notable composer. The wonderful and expansive presence of the strings , metals and woods are demanded requisites if you want to win with this work.

Solemnity ; grace and fevered passion characterize this idiomatic performance .

The last movement, the well know Fanfare for a common man is played with such dignity level that it will let you amazed .

In spite of his fervent wisdom and noblesse , though it lacks the ardour of the version of the sixties but you can not always what you want . This performing is by far unbeatable if you dare to compare with anyone you choice .

Memorable portrait and distinguished recording.

Late, great Bernstein.......2004-07-02

This was one of Leonard Bernstein's last recordings, and turns out to be one of his most memorable ones as well. Copland's Third Symphony uses his "Fanfare for the Common Man" as its climax, and Bernstein mines every bit of emotion you might expect. I'm not completely convinced that the symphony is necessarily one of the composer's tightest works, but Bernstein makes every minute sound essential, and the New York Philharmonic plays with terrific nobility and panache.

"Quiet City" is also beautifully done, with Bernstein capturing its plaintive, idyllic qualities perfectly. The orchestra has an excellent brass section, and some gorgeous work here just confirms it. The sound quality is excellent, not the least in the gleaming, closing pages of the Third Symphony that may have you cheering. A great document of Bernstein's electricity, a quality that was still present right up until the very end.

spectacular americana.......2003-03-20

this is copland at his loudest, brassiest, most longwinded and hymnally whitmanesque. bernstein shapes the performance with an appropriate sense of drama, but free of bombast; the ny philharmonic plays everything beautifully -- the brass and violins in particular. i bought this cd because i'd just heard the work performed by mtt and the sf symphony, and this recording is quite as impressive as that impressive live concert.

The Great and the Good.......2001-07-20

Copland's 3rd Symphony contains some of the most beautiful music he ever wrote, but the sum of the work is not equal to its parts. The best movement is the first, particularly the breathtaking introduction. Here, Copland is in full 'Appalachian Spring' mode, writing in a style that now seems so quintessentially American that it is easy to forget that he virtually invented it. But after this movement, I don't feel as if I'm listening to a symphony any more and the growing lack of cohesion between the ideas isn't helped by the intrusion of the 'Fanfare for the Common Man' in the finale.

But despite it's qualified success as a symphony, this is still a very rewarding work and the other piece, 'Quiet City', is hauntingly beautiful.

Live from New York City
Average customer rating:
Live from New York City
Marc Anthony
Manufacturer: Immortal
ProductGroup: Music
Binding: Audio CD

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Desde un Principio: From the Beginning

Sigo Siendo Yo: Grandes Exitos

Marc Anthony

Como Ama una Mujer

Libre

ASIN: B000O5AYMA
Release Date: 2007-03-26

Tracks:

Y Hubo Alguien
Contra La Corriente
You Sang to Me
Hasta Ayer
Si Te Vas
Nadie Como Ella - Marc Anthony, Tito Puente
Te Conozco Bien
De La Vuelta
Preciosa

Album Details

Recorded February 2000.

Average customer rating:

My favorite!
cautivante intimidad.......
It's hard to be humble...
a time capsule with added trace elements and vital minerals
Saw this Concert at Carnegie Hall........

Live From New York City, 1967
Simon & Garfunkel
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Folk Rock | Rock | Styles | Music

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The Concert in Central Park
Simon and Garfunkel - The Concert in Central Park
The Columbia Studio Recordings 1964-1970
Paul Simon in Concert: Live Rhymin'
Wednesday Morning, 3 AM

ASIN: B000069JIN
Release Date: 2002-07-16

Tracks:

He Was My Brother
Leaves That Are Green
Sparrow
Homeward Bound
You Don't Know Where Your Interest Lies
A Most Peculiar Man
The 59th Street Bridge Song (Feelin' Groovy)
The Dangling Conversation
Richard Cory
A Hazy Shade Of Winter
Benedictus
Blessed
A Poem On The Underground Wall
Anji
I Am A Rock
The Sound Of Silence
For Emily, Whenever I May Find Her
A Church Is Burning
Wednesday Morning, 3 A.M.

Amazon.com

Paul Simon and Art Garfunkel were the apotheosis of the '60s folk revival, bringing the music to the mainstream via Top 40 radio and network TV. This live set was recorded before a rapt audience at New York's Lincoln Center in January of 1967, just as their Parsley, Sage, Rosemary, and Thyme album was carrying them to superstardom, and there's a palpable pre-Woodstock/Altamont sense of boundless possibilities in these performances. Carried by just their bittersweet, magnificently interlocking voices and Simon's acoustic guitar, the duo showcases its already impressive slate of hits ("Homeward Bound," "I Am a Rock," "The Sounds of Silence") and its stylistic diversity that was already confident enough to encompass breezy pop ("The 59th Street Bridge Song (Feelin' Groovy)"), madrigal influences ("Benedictus"), and the introspective impressionism of "A Hazy Shade of Winter." Simon takes a jazz-folk solo instrumental turn on Davey Graham's "Anji," while Garfunkel showcases his angelic pipes on "For Emily, Wherever I May Find Her." It's a remarkably crisp live recording as well, one whose digital remastering was overseen--but not artistically tweaked--by the musicians and their original engineer Roy Halee, ensuring the performance remains as true as the cold yet invitingly warm evening on which it was recorded. Their subsequent albums Bookends and Bridge over Troubled Water may have expanded their creative instincts and their fame, but, like the Beatles, their partnership eerily paralleled the decade's demise, its optimism and promise imploding in a swirl of cynicism and ego. Those facts make this find from the vaults all the more compelling. --Jerry McCulley

Customer Reviews:

My favorite!.......2007-03-08

I am an avid Simon and Garfunkel LP collector - which I unfortunatly don't get to listen to as often as I'd like, but this is the CD I listen to when I need my S&G fix! I love love love live and acoustic versions of music because to me, an artist is not a true artist unless he or she can perform live and still rock it! This is the CD to buy if you want to hear the true art of Simon and Garfunkel. Another suggestion is the Greatest Hits album which I have to admit, at the age of 22, I made fun of my mom for owning this CD up until I turned 17 and discovered their brilliance!

cautivante intimidad..............2006-12-22

corrian los años del amor...del sentir que era posible cambiar algo..y esta edicion refleja simplemente una noche de ese particular año, 1967....nada mas y nada menos...un momento de una de las tantas noches que derramo ese año..y casualmente tocaban simon & garfunkel, derritiendo la apatia, la desesperanza y la monotonia....todo envuelto en una pristina calma y sensibilidad exasperante...canciones fragiles, por momentos arrolladoras o delicadas..pero que al final de cuentas hicieron historia. OBRA ALTAMENTE RECOMENDABLE!!!!!!!!!!!!!

It's hard to be humble..........2006-09-18

...when you're Simon and Garfunkel. And what reason does this duo have to be? Even as early as January 22 of 1967, when this concert was recorded, Paul and Arti were able to stack the setlist with three Top Ten selections ('Homeward Bound', 'I Am a Rock', and 'Sounds of Silence') and two other Top 40 numbers, 'Hazy Shade of Winter' and 'The Dangling Conversation', which Garfunkel introduces as their personal "favorite". Songs already in the works for later in 1967 included the likes of 'Fakin' It', 'Feelin' Groovy' and 'Scarborough Fair'. But chart success is far from what Simon and Garfunkel were all about at this most influential time in their careers.

Much is made in the liner notes by Anthony DeCurtis, and other reviewers here at Amazon, about the remarkable rapport between audience and performers on this disc. It's almost spellbinding in our day and age, when people come to concerts and all but ignore the performers, to hear the sounds of silence emanating from this reverant crowd at Philharmonic Hall in Philadelphia. Certainly not all 1967 performances were accorded such stature. It's hard to believe that the management of the auditorium went to the unheard of length of seating people on the stage behind the performers to accomodate the demand for tickets, and that Simon and Garfunkel would consent to such an unusual configuration for their performance. When listening to this disc, it is hard not to place yourself in one of these choice seats and imagine how it must have felt to hear these enigmatic performers unleash one poignant tune after another. I imagine you would be able to feel as though it was just you and them sharing these transcendent musical performances together.

And the music to this day remains glorious. Snippets of lyrical genius can be gleened with regularity from each and every song, and with each listen, some new image or combination of words or ideas will catch your attention. On one recent listen, 'Leaves That Are Green' left me with the brief aliteration "...and they wither with the wind", while 'You Don't Know Where Your Interest Lies' emphasized its point by having each word in the title claim its own note. 'The Dangling Conversation' contrasts two people unable to connect with "we are verses out of rhythm, couplets out of rhyme, in sycopated time". 'Blessed' expands on the poor and the meek to include "meth drinkers" and the "groovy lookin'" before admitting "I've tended my own garden much too long". The writing of graffiti artists in 'Poem On the Underground Wall' is rendered as "a gently tapping litany". And in 'I Am a Rock', the self-isolated subject becomes "like a freshly fallen silent shroud of snow", capsulizing his unaffected and unaffecting nature. 'The Sounds of Silence' caress us with "a vision softly creeping" that "left its seeds while I was sleeping", while Garfunkels incredible vocal abilities illuminate images like "I kissed your honey hair with my grateful tears" from the first encore, 'For Emily, Whenever I May Find Her'. The pair sing "I won't be a slave anymore" in the heyday of the Civil Rights Movement, adding the defiant "you can burn down my churches, but I shall be free" in the second encore, 'A Church Is Burning'. Garfunkel tells the enthused crowd before the final number "Shut up, you've had your fun!", before performing the odd choice, 'Wednesday Morning, 3 A.M.', the title song from their first disc, ending with "the morning is just a few hours away" before fading into an out-of-tune coda from Simon's frets. You could fill the auditorium with the lyrical gems that grace this concert with aural, literary, musical, cultural, and political and social import. While Simon was quite reserved regarding his vocal capabilities at this point in his career, his harmonies only enrich Garfunkel's leads, and his guitar work seems the perfect complement throughout, laced with both emotional expression and punctuation.

The recording is less than perfect. While everything that should be there is there, there is also an annoying buzz from the recording equipment (less pronounced after 'A Hazy Shade Of Winter', the middle track), but which cannot be ignored throughout the performance. Today's remastered, digital listener is less likely to be forgiving of such imperfections, but the perfection of these songs, performed live at the height of their influence demands that the good be taken with the bad. This is musical history, as well as a window into the best of what America was in perhaps its most turbulent and revolutionary of decades, save the 1770's and the 1860's. Even if you are not a Simon and Garfunkel aficionado, this concert should be taken in at least once to gain a better insight into who we were in the 1960's.

a time capsule with added trace elements and vital minerals.......2006-01-30

Simon & Garfunkel
Live From New York City 1967
Columbia/Legacy (CK6I 513)
Arrives in stores July 16th, 2002
Simon & Garfunkel's records had many strengths, not least of which was recording quality decades ahead of its time. We don't think about this sort of thing today, when every tiny burg boasts half a dozen digital studios capable of recording anything most musicians can envision, but aural depth exponentially greater than that achieved by, say, the Rolling Stones or Bob Dylan, was a large part of the impression and respect Simon & Garfunkel had at the time. They spent 800 hours in the studio mixing "Bridge Over Troubled Waters." Of course, it was impossible to get that quality out of a live recording in 1967, and so the first thing one notices about this new Columbia release is that it lacks one of the duo's greatest strengths.
It isn't a bad recording; not for a live recording from 1967, but it in no way compares to the duo's studio output. There are unique strengths to the release as well, but whether they make up for audio-deficit is up to the individual listener.
The strengths are these -- Simon's guitar work, unadorned by whatever he did to sound so respectful of the highest standards of folk in the studio, sounds earthy, even bluesy at times, on this release, and that adds a rawboned power to protest songs that, let's face it, originally sounded as if they weren't going to lead to any solutions, because those anemic, turtlenecked geeks weren't ever going to win any battle with the military/industrial complex they were warning us about. On this live album, oddly, they sound as if they might actually have a chance. Second, like most concert sets, this one represents the best and/or most popular material the act has released to date. Included here are "He Was My Brother," "Sparrow," "Homeward Bound," "Feeling' Groovy," "The Dangling Conversation," Benedictus," "I Am A Rock," "The Sound of Silence" and Wednesday Morning, 3AM," along with ten other potential favorites from their catalog and stage banter. For sensitive folkies, you will find these guys to be quite entertaining between songs as well as while producing those irreplaceable harmonies.
... a time capsule with added trace elements and vital minerals ...

Saw this Concert at Carnegie Hall...............2006-01-12

Hi people. Metamorpho has had a busy day - reflecting mostly. Anyway children - before all this technology hit and digital sound bytes infiltrated everyone's craniums- we actually had some purity to the music. If you've been following my reviews - when we last left Metamorpho - someone gave him a free ticket to see Simon and Garfunkel at Carnegie Hall. Essentially this program was pretty much the same- as presented here as being at Philharmonic Hall. But who can quibble? I do remember distinctly coming away with amazement that they could be so mesmerizing by utilizing only vocals and one guitar. And the audience REALLY listened to them! And it was all real!
These tunes are essentially from the beginning of their career. It is amazing how good Paul is on guitar and practically makes you forget the embellishments that were added in the studio. You have the angelic voice of Art Garfunkel perfectly juxtaposed against Paul's vocals. The enunciation, the precision, the timing of the harmonies is about as perfect as you can get. One can see easily the effect that The Everly Brothers had on them. This live recording is a pure joy. It reminds us that - at one time - we didn't have the need for alot of musicians when the material was this good. Dylan also was able to weave his magic this way. But, everybody plugged in electric guitars and things became different. Mind you, Metamorpho is fine with all this because it is transition and progress - but isn't it good to hear this nugget, that preserves a moment in time which will always be precious?
You can see what songs they do under the song select on this page. What I will say is that they are sung expertly and you will be stung by the sheer beauty of the balanced harmonies. It is good to have them both - forever preserved in their prime. Believe me people, if Metamorpho had been given more tickets back then, I would have gladly brought you along. But, since that didn't happen, just imagine yourselves sneaking into New York City with me to see this. Close your eyes, put on this c.d., and you are there! You see them, don't you? Artie and Paul on stage with just a chairstool, microphones and a guitar. Metamorpho is proud of your efforts to tune in to the collective unconcious! Alright Alright. Enough babbling from Metamorpho. But, when I say it's a treasure .... it's a TREASURE! I wouldn't steer you wrong or get you to drink tainted Kool-Aid. Trust me................ Metamorpho

Average customer rating:

Not typical Irish Punk Music
Their most original, and the best starting point
Power and Passion
A new breed of celtic-style music
Paddy's Got a Brand New Reel

Fire of Freedom
Black 47
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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Home of the Brave
New York Town
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Trouble in the Land
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ASIN: B000006N4R
Release Date: 1993-03-23

Tracks:

Livin' In America
Maria's Wedding
Rockin' The Bronx
Fanatic Heart
Funky Ceili
Fire Of Freedom
James Connolly
Livin' In America
Banks Of The Hudson
40 Shades Of Blue
New York, NY 10009
Sleep Tight In New York City/Her Dear Old Donegal
Black 47
Livin' In America

Customer Reviews:

Not typical Irish Punk Music.......2006-11-14

I am a big Dropkick Murphys fan. So, I was excecting something along those lines. Though, I do like Black 47 they are nothing like Dropkick. They remind me more of the eirly eighties bands.

Their most original, and the best starting point.......2006-09-19

All of Black 47's albums have their strong points, but Fire of Freedom has nothing but strong points. There aren't very many albums I've heard by any artist that sound terrific on the very first listen and stay that way for good. But this is one - from the day I bought it in 1993 (on cassette - remember those?!), every song was catchy and memorable in its own way then and still is now.

If I had to settle on one genre for Black 47, "Irish rock" would have to do. But that's a massive oversimplification, and these guys sound absolutely nothing like U2 or The Pogues. What do they sound like? A mishmash of funk, folk, punk, hip-hop, soul, reggae and straight up rock and roll that almost had to be either horrible or wonderful. Luckily for us, it's the latter. The band's unabashedly militant politics turn up in several of the songs, notably "James Connolly," the title track, and the rather enigmatic "Fanatic Heart." They're also not above co-opting old ballads with new words of their own in "40 Shades of Blue" and "Livin' In America" (set to supercharged arrangements of "Down By The Sally Gardens" and "The Foggy Dew" respectively); folk purists might not like these too much, but they're among my favorites. Most of the others are slice-of-life tales of the modern immigrant experience in various corners of New York, ranging from tragic to hilarious.

Nothing beats seeing these guys live, but this CD is a close runner-up to that.

Power and Passion.......2004-03-05

This is one of the decade's best albums. Every track is memorable, though "James Connolly" and "Fire of Freedom" are the ones that stick with me long after the music stops. This is Black 47 at the top of their game (or at least as good as they get in the studio: Nothing beats them live). A mixture of straight-on rock 'n' roll, with Celtic flavors on some tracks, and reggae beats or hip-hop thrown in occasionally. The musicianship here is incredible at times; the horn section blends with the pipes for some truly inspired sounds.

Look for a CD put out in 1995, called "Keep it Reel," with Seanchai (Chris Byrne from Black 47), Eileen Ivers, and Pat McGuire. Absolutely awesome live recording of Irish hip-hop, and several other genres fused together, with brilliant lyrics by Seanchai. Hard to find.

A new breed of celtic-style music.......2001-01-15

This album is a little tougher than one might expect from a celtic band. While you can't divorce the celtic influence it is definitely supported by an American twist.

This cd is fun as in the exuberant "Funky Ceili" (a great song, great story, in neo-celtic style,) "40 Shades of Blue" or "Rockin' the Bronx". More often however there is an edgy darkness here whether in detailing Irish history ("James Connolly" or "Black 47") or in the contemporary ("Banks of the Hudson"). Don't expect the Irish Tenors here or even the Chieftains. The beauty of those artists aren't here (although the artistry is). This is more thought-provoking, more raw, more contemporary (lyrically and vocally).

Paddy's Got a Brand New Reel.......2001-01-11

Larry Kirwan writes theatrical music both literally and figuratively. Sometimes the epic nature of the music comes close to bombast, sometimes the drama veers toward melodramatic, and sometimes his melodic reach exceeds his vocal grasp.

But what songs.

My criterion for 5 stars is that every track has to be memorable. This disk nails it. One is tempted to go track by track to describe the music. As others have indicated, this is a band with disparate roots and influences; its central tendency sounds something like what might have happened if Springsteen grew up in Wexford listening to traditional Irish music instead of R&R and R&B. Like Springsteen at his best, not everything is pedal-to-the-metal; Black 47's music encompasses a range of subject matter and emotion, but with a perspective rooted in Kirwan's immigrant alienation and political interests. "Banks of the Hudson" is what might happen if a traditional murder ballad crashed into Manhattan complete with Geoff Blythe doing his best Clarence Clemmons imitation; "Funky Ceili" is a joyful celebration of dissoluteness; "James Connolly" an anthemic celebration of the Irish Marxist revolutionary; the quiet "Fanatic Heart" is both plaintive and chilling; and "Living in America" is the band's piece de resistance -- an evocation of the slights and hopes of immigrant men and women in America. Like I said it is tempting to review each track.

It would be easy to fall flat on your face trying to pull this off -- the politics degenerating into sloganeering, the passion into cheap sentimentality, and the music into some kind of ersatz folk hydrid. Kirman's self-deprecating humor (I once saw him perform a song about his girlfriend leaving him "for another woman" while he was with the Major Thinkers, an earlier band) saves him lyrically, and relentless live performance has honed the band musically.

As a final note: "Fire of Freedom" is not Black 47's first CD. The band put out an eponymous CD two years earlier. Many of the songs are the same as "Fire of Freedom" though there are four that are not on subsequent disks. The production is more spare, and I actually prefer some of the performances to the more cluttered productions on "Fire of Freedom." If you like "Fire of Freedom" and you come across "Black 47", it could be worthwhile picking it up.

Live from Studio A in New York City
Average customer rating:

Jazz violin is heaven

Wow! What playing! What sonics!

Live from Studio A in New York City
Johnny Frigo with Bucky & John Pizzarelli
Manufacturer: Chesky Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
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I Love John Frigo...He Swings

ASIN: B000003GEQ
Release Date: 1994-07-06

Tracks:

Pick Yourself Up And Start All Over Again
Do Nothing Till You Hear From Me
Detour Ahead
Just Friends
Estrellita
Stompin' At The Savoy
Early Autumn
You Stepped Out Of A Dream
In A Sentimental Mood
The Song Is You
I'm Through With Love
Summer Me, Winter Me
Tangerine
I'll Never Be The Same

Customer Reviews:

Jazz violin is heaven.......2007-06-23

You gotta hear "Estrellita" for some smooth jazz fiddlin' from this master, Johnny Frigo. I think there are too many cuts on this album in which we don't hear enough of him, but rather too much of his accompanists, as good as they are.

"Early Autumn" is another super smooth number, but too much guitar and bass in there, in my view.

"You Stepped Out Of A Dream" has more zip, but still charms.

"In A Sentimental Mood" starts with a lovely solo fiddle from Johnny, then proceeds with accompanyment and some dreamy melody.

"The Song Is You" shows the best integration of the fine playing of the Pizzarelli brothers with Johnny's strong fiddlin' in this powerful piece that really rolls. You'll really hear that bass drum.

"I'm Through With Love" is as tender as creme cheese. A song like this is why we love jazz violin.

"Summer Me, Winter Me" has a Brazilian beat to it, nice drum work. Great fiddle.

Overall, this is a very enjoyable album by Johnny and the Pizzarellis. I can't wait to get more of his work!

Wow! What playing! What sonics!.......1999-07-30

These guys could be musical just walking down the street. Bucky and John Pizzarelli are wonderful, but the find of finds is violin man Johnny Frigo. Check out track 10 - a blistering version of "The Song Is You". Django and Stephane may have sounded this good from time to time, but it's hard to imagine anyone doing this Hot Club of France-style stuff with more energy, wit or style. And Chesky's sonics are jaw-dropping. This 128-bit encoded recording is close to a decade old but is still one of the finest CD's ever pressed. Enjoy, enjoy, enjoy.

Average customer rating:

Her voice is every color of dream
Stratas is sublime
It is dangerous to use words like "definative," but....
Amazing
The One

Stratas Sings Weill

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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Sings Kurt Weill, Vol. 2

ASIN: B000005IXU
Release Date: 1991-06-25

Tracks:

One Touch of Venus: I'm A Stranger Here Myself
Ausfstieg und Fall der Stadt Mahagonny: Havanna - Lied
Happy End: Surabaya-Johnny
One Touch of Venus: Foolish Heart
Der Silbersee: Ich bin eine arme Verwandre (Fennimore's Song)
Lady In The Dark: One Life To Live
Marie Galante: J'attends un navire
Happy End: Das Lied von der harten Nuss
Street Scene: Lonely House
Marie Galante: Le Roi d'Aquitaine
Ausfstieg und Fall der Stadt Mahagonny: Denn wie man sich bettet
Marie Galante: Le Train du ciel
Die Dreigroschenoper: Das Lied von der Untulanglichkeit menschlichen Strebens
Knickerbocker Holiday: It Never Was You
Happy End: Der kleine Leutnant des lieben Gotten

Amazon.com

Revealing an affinity for Weill, Teresa Stratas fulfills her promise to Lotte Lenya on her deathbed to "carry on the torch for Kurt Weill's music." Stratas's glorious soprano has never sounded better as she applies her operatic expertise to deliciously caress this music without losing any of the underlying subtext. Lacking the grittiness of other interpreters, she captures the emotional angles by letting her beautiful voice express the tortured heart beneath it; where others shout at you, Stratas sings at you. She casually bounces off the cheerier selections from One Touch of Venus and Happy End, letting Gerard Schwarz's brilliantly conducted orchestra display their wit. Program notes include a fascinating interview with Stratas. --Barbara Eisner Bayer

Customer Reviews:

Her voice is every color of dream.......2005-12-03

I don't care who knows it--I've been in love with Teresa Stratas since I was a senior in high school and saw her as Mimi in La Boheme one Friday night in 1961. That obsession preceded and outlasted my marriage:-). I lost a lot of years away from opera, then discovered that Stratas' recorded output is shamefully small. A difficult performer, probably, renowned for some unendearing quirks. But. What's there is gold. I have heard recordings I should not of her as Suor Angelica, Butterfly, and Melisande. I have seen her famous Zefirelli Boheme and Traviata. And Amahl. But the Weill material...it's unbelievable. When Lenya "ordained" her as her successor after seeing a performance of Mahagonny, the old lady knew what she was doing. Stratas has the perfect temperament for Weill's music. The voice coos, snarls, belts, and weeps. My favorite of all Weill songs, "Surabaya Johnny," is a mini-drama of love, hate, rage and despair. The only person who comes close to her in that song is the late Cathy Berberian.

Yes, get this. Get "The Unknown Kurt Weill." Lobby the Met to release her broadcasts, esp. The Bartered Bride. She was absolutely magnetic and the field isn't quite gone yet.

Stratas is sublime.......2005-03-27

Teresa Stratas is one of those singers whose reputation as a temperamental diva precedes her. Well, in my book, if it takes being temperamental to accomplish a collection like this, the end justifies the means. She is a singer of tremendous vocal and emotional range, and Weill's music provides what seems to be a perfect vehicle for both.

I've had this CD for at least 12 or 13 years and, no matter how many times I listen, I still notice new details in her interpretations.

It is dangerous to use words like "definative," but...........2004-04-04

Stratas's interpretations make one rush headlong into that danger.

Many singers have done beautiful Surabaya Johnnys but have any been as shattering as Stratas? Though years later she stumbled with her ill-concieved and eccentric Seven Deadly Sins, this CD is Stratas at in her prime, making bold choices about the material that blows the cobwebs off song we thought we knew. Even 15 years later, this album is fresh, uncliched, deeply affecting, and enthralling.

Stratas proves herself not only a great singer, but a great actress as well.

Amazing.......2000-06-29

Until I heard this and the Unknown Weill, I was a "stranger myself here,' as Stratas sings in the first selection. I simply did not appreciate nor understand the immediacy and importance of Weill to our musical heritage. Stratas simply transcends and reveals this music so intuitively that it is amazing.

The One.......2000-06-01

Stratas is the Weill singer, and everyone else is an also-ran. Ute Lemper is just a poser, and while Lenya was an important figure for Weill and she has her charms, but Weill wanted trained, operatic voices to sing his music, but not in the style of Verdi or Mozart. Here, Stratas delivers the composer's wish. Her voice is beautiful and cultivated in the best way, but it is her manner that is so important; straightforward, sincere, artless. From the opening "I'm a Stranger Here Myself" her affinity for this music is fully apparent. The selections span Weill's career and are delivered in many English, French and German, and regardless of the language, Stratas communicates completely. The orchestra plays the original orchestrations, and the sound is simply wonderful, nostalgic and modern all at once. This is where all Weill listeners and lovers should start.

Average customer rating:

Awesome
Disney Always Rocks
Awesome collection!
For adult listeners, the Disney songs sung by "real" singers
Good CD

Disney's Superstar Hits
Disney
Manufacturer: Disney
ProductGroup: Music
Binding: Audio CD

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ASIN: B000060P4B
Release Date: 2002-03-05

Tracks:

Beauty And The Beast - Celine Dion And Peabo Bryson
You'll Be In My Hear - Phil Collins
Circle Of Life - Elton John
Reflection - Christina Aguilera
My Funny Friend & Me - Sting
Colors Of The Wind - Vanessa Williams
True To Your Heart - 98 Degrees And Stevie Wonder
Strangers Like Me - Phil Collins
He Lives In You - Tina Turner
When She Loved Me - Sarah McLachlan
You've Got A Friend In Me - Randy Newman & Lyle Lovett
Once Upon A Time In New York City - Huey Lewis
A Whole New World - Peabo Bryson And Regina Belle
I'm Gonna Love You [Madellaine's Love Song] - Jennifer Love Hewitt
Put It Together[Bibbidi Bobbidi Boo] - Brooke Allison
Hakuna Metata - Jimmy Cliff And Lebo M

Customer Reviews:

Awesome.......2006-04-04

I loved the music on this cd. Thank you so much. My brother and I listen to it all the time.

Disney Always Rocks.......2005-09-29

Yeah looks like it's a great get, if you haven't already got every CD by disney. Didn't know the song You'll be In my Hear was a Tarzan track. Must be a spin off to You'll be in My Heart. Its all good.

Awesome collection!.......2003-10-19

I have to say, that with a 5 year old who is obsessed with the movies that these songs go with, it has made the perfect gift! She spends hours listening to this CD while doing more productive activities than sitting in front of a TV watching the movie. The songs are special to her because of the movies, and she actually does her schoolwork well with these fun songs playing. As a music lover and a Disney lover, we both agree at 5 and 30 that this is a hit.

For adult listeners, the Disney songs sung by "real" singers.......2003-07-22

Trivia Challenge: Included in the 16 tracks on "Disney's Superstar Hits" is the only song from a Disney film to hit #1 on the Billboard Pop Charts. See if you can remember which one it is before I give the answer away at the end. No peaking ahead.

The songs collected on "Disney's Superstar Hits" are mostly from the 1990s; there is "Once Upon a Time in New York City" from way back in 1988 from "Oliver and Company" and a few songs from the 21st century. But the only golden oldie is "Put It Together (Bibbidi Bobbidi Boo)," which comes from "Cinderella II" and not the original. The obvious frame of reference would be to see this collection as representing the Disney Renaissance ushered in by the Alan Menken/Howrad Ashman era, which makes it strange that nothing from "Little Mermaid" is included. But the common denominator to this collection is that the songs are not sung by the characters from these films, or, more properly, the people who did the voices for the characters. So instead of Angela Landsbury doing "Beauty and the Beast" it is Celine Dion and Peabo Bryson.

There are several songs from the less than stellar direct to video Disney sequels, such as "The Hunchback of Notre Dame II," "The Lion King II: Return to Pride Rock," "and "Cinderella II," which would be a minor complaint. But Tina Turner sings one of the songs, so it is hard to complain. In fact, the strength of this collection is indeed the superstar singers. Most of them are blasts from the past such as Elton John, Stevie Wonder, Phil Collins, Sting, Huey Lewis, and Randy Newsman, but there is also new blood such as Christina Aguilera, Sarah McLachlan, Vanessa Williams, and even Jennifer Love Hewitt. Peabo Bryson comes out ahead, with the aforementioned "Beauty and the Beast" and another duet, "A Whole New World" with Regina Belle.

This disc is perfect for grown ups, who like the "real" singers singing the best songs from the Disney movies their kids have been dragging them to for the past decade. Vanessa William's "Colors of the Wind" is my personal favorite, although it is hard not to recall the fantastic opening of "The Lion King" when you hear Elton John do "Circle of Life." On the fun side of the ledger I like Randy Newman and Lyle Lovett working their collective ways through "You've Got a Friend in Me" a bit more than Jimmy Cliff and Lebo M's "Hakuna Matata."

Trivia Answer: "A Whole New World" was #1 on the Billboard Pop Chart for one week starting on March 6, 1993. It is the song that replaced Whitney Houston's cover of Dolly Parton's "I Will Always Love You" after 14 weeks on top.

Good CD.......2002-12-29

This is a great CD, but I was kind of disappointed that there weren't more tracks on it. Other than that, you and your kids will be singing along in the car for sure.

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