For Claire [CD-single]

For Claire [CD-single]

Track Listings

1. Act Fast

2. Happy [Kylie Mix]

3. Rave Review

For Claire,Sir Certainly,Palm Pictures (Audio,Dance Music,Pop

An Introduction to Der Ring des Nibelungen
Average customer rating:

Ring introduction critique

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE

Welcome back to a classic analysis

Essential for Understanding Wagner's Ring Cycle

Very Functional

An Introduction to Der Ring des Nibelungen
Deryck Cooke , Georg Solti , Wiener Philharmoniker , Anita Valkki , Berit Lindholm , Birgit Nilsson , Brigitte Fassbaender , Christa Ludwig , Claire Watson , Claudia Hellmann , Dame Gwyneth Jones , Dietrich Fischer-Dieskau , Eberhard Wächter , George London , Gerhard Stolze , Gottlob Frick , Grace Hoffmann , Gustav Neidlinger , Hans Hotter , Helen Watts , Helga Dernesch , Hetty Plumacher , Ira Malaniuk , James King , Jean Madeira , Joan Sutherland , Kirsten Flagstad , Kurt Böhme , Lucia Popp , Marga Höffgen , Marilyn Tyler , Maureen Guy , Oda Balsborg , Paul Kuen , Régine Crespin , Set Svanholm , Vera Little , Vera Schlosser , Waldemar Kmentt , Walter Kreppel , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Wagner's Ring: Turning the Sky Round

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Ring of the Nibelung

ASIN: B00000424H
Release Date: 2005-09-13

Tracks:

Of All Great Musical Compositions... (Examples 1-4)
The Fundamental Symbol... (Examples 5-11)
Returning Now To The Nature Motive... (Examples 6, 12-16)
A Number Of Further Motives... (Examples 5, 17-21)
A Second, Much Smaller Family... (Examples 22-25)
So Much For Nature. (Examples 26-38)
The Cause Of The Deterioration... (Examples 39-44)
The Other Transformation... (Examples 45-48)
Several Other Motives... (Examples 49-52)
Two Further Motives... (Examples 41, 53-61)
The Basic Motive Associated With The Spear... (Examples 62-68)
Along Another, More Complex Line... (Examples 69-72)
In Act Two Of Walkure... (Examples 69, 73-75)
Returning Now To Act Two Of Walkure... (Examples 76-79)
Love Is Another Of The Central Symbols... (Examples 80-83)
Later In The Same Scene... (Examples 84-87)
Freia's Motive Has Two Independent Segments... (Examples 88-91)
The Label 'Flight'... (Example 92)
When Fasolt, In Scene Two Of Rhinegold... (Examples 93-98)
A Little Later In The Interlude... (Examples 99-103)

Tracks:

The Other New Motive... (Examples 104-109)
There Are Several Independent Love-Motives... (Examples 110-114)
The Characters In Whose Lives... (Examples 115-120)
One Further Motive Belongs... (Example 121)
The Sword Motive Recurs... (Examples 122-130)
Ironically, This Phrase... (Examples 131-135)
Closely Associated With Gutrune's Motive... (Examples 136-140)
Here We Come To The End... (Examples 141-146)
Complemtary To This Symbol... (Examples 147-149)
One Last Central Symbol... (Examples 150-157)
One Further Motive Connected... (Examples 158-161)
There Are One Or Two Motives... (Examples 162-168)
These Motives Of Alberich And Mime... (Examples 169-171)
Quite A Number Of The Subsidiary Motives... (Examples 172-176)
Besides This Family Of Motives... (Examples 177-180)
Our Final Example... (Examples 10, 181, 182)
In The Final Scene Of Gotterdammerung... (Examples 181-183)
Even More Masterly... (Examples 184-188)
Now If We Return... (Examples 189-191)
This Masterly Way... (Examples 192, 193)

Amazon.com

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Customer Reviews:

Ring introduction critique.......2006-11-04

This is very worthwhile, at the same time it requires time, patience and attention, but it does provide some keys to better enjoyment of a sensational piece of music.

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE.......2006-08-16

This may look an intimidating, daunting and dull prospect - a 2+ hour lecture on the motifs in the Ring. Don't be put off. Whether you're a relative novice to the Ring and want to find out what it's all about, more experienced with a desire to understand the composer's methods better or an afficionado who thinks he knows it all inside out, there is great pleasure as well as elucidation to be had from this set. Originally made to accompany the Decca Solti Ring, it contains a multitude of musical illustrations taken from those recordings as well as some specially recorded by Solti just for this Introduction.

It wasn't the first time this has been tried. The famous HMV sets from the late 20's also included recorded examples of over 100 motifs. (These, by the way, are available as part of the Pearl reissue of those wonderful HMV recordings). What that set lacked was the wonderful insights as well as the approachability of the talk by Deryck Cooke. Cooke was a great and much missed musicologist - a Mahler expert responsible for the performing edition of the Tenth Symphony still most played today, a fascinating explorer into the nature of music's basic building-blocks in his excellent book, The Language of Music, and an inspiring and elucidating critic of Wagner's work as shown by the fascinating book he left unfinished at his death, I Saw the World End.

On these CDs he does much more than list the leitmotifs and identify them as calling-cards. He shows the amazingly integrated and organic growth of the musical material that Wagner uses throughout his vast work. He demonstrates how motifs can change their sense and meaning as they evolve through the drama. And he shows how the complex combinations of motifs can radically advance both the musical and the dramatic narrative of the piece. There are even places where he corrects the misinterpretation of some of the motifs that had become ingrained from early commentators' false labels.

This set should engage and enlighten anyone with an interest in Wagner's huge and inexhaustible tetralogy. Do give it a try - no matter how far down the road to Wagnerianism you are.

Welcome back to a classic analysis.......2006-05-28

Deryck Cooke's lecture series upon THE RING is almost as much a classic by now as the Solti RING cycle, with which it was originally issued on LP, and from which it derives its musical examples. The difference is that whereas the Solti RING has been continuously in print ever since it was completed, and was among the first opera sets to benefit from the CD revolution, the Cooke analysis was for long almost totally unobtainable. Now we have it back. It should be welcomed: it is a classic. Cooke's mellow, deep voice with the hint of a Celtic burr - which made him ideal on BBC radio - patiently explains Wagner's melodic, rhythmic, and harmonic metamorphoses to such good effect that if you own this recording, you really require no other RING analysis. (A pity about the abrupt beginnings and endings of too many vocal and orchestral illustrations, though.) Musicology lost a fine, sensitive thinker with Cooke's premature death in 1976.

If all you want is dilettantish baby food, there are plenty of dumbed-down Wagner commentaries on the market, stretching from Anna Russell's famous monologue (which doesn't pretend to be anything other than a parody aimed at morons) to the latest standard-issue "Wagner-was-a-Nazi-boo-hiss" feuilleton (which, unfortunately, does). Without reasonable score-reading skill you will find Cooke useless, however diligently you have ploughed through Marx, Jung, Freud, or other gurus purportedly relevant to THE RING. Cooke expects you to use your brains and your musical sense. Quelle horreur. At today's BBC his "elitism" would render him unemployable.

Essential for Understanding Wagner's Ring Cycle.......2006-05-15

I originally bought this set on vinyl in the early 70s when I discovered the Ring in college. I studied the records and booklet assiduously, and after about three run-throughs I finally started getting it. Wow! Thirty-five years later, I still remember Mr. Cooke's analyses of various motive families, and I don't know how I could have mastered and loved the Ring without him. I now own this set on CD and listen again on the rare occasion of attending a Ring performance. My wife calls me a "Ring nut," but of course I'm nuts about many other things as well.

Bottom line, buy this set and study it if the Ring has captivated you as it has countless others. The presentation is dry, but sticking with it brings measureless and longlasting rewards.

Very Functional.......2006-03-19

This CD set is excellent for what it sets out to do: present the leitmotives of the Ring according to their relationship to one another and their role in developing both characters and plotlines. Deryck Cooke's lectures on each motive are very insightful, very helpful at cueing the listener into the semantic aspect of Wagner's orchestral writing. The one drawback is that the musical examples are a bit jarring. Without fade-ins or -outs, the engineering is quite barbaric. And though the orchestra was, I believe, conducted by Solti, and is beautifully done, the vocal performances can be quite unpleasant. Point being: this is not background music, but in accomplishing what it sets out to do, it is very successful, and I don't know of anything else like it.

Saint-Saëns: Symphony No. 3 'Organ'; Poulenc: Organ Concerto

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THE Performance of this Symphony
The Glory That Was France
Outstanding in every way

Saint-Saëns: Symphony No. 3 'Organ'; Poulenc: Organ Concerto

Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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Rachmaninoff Plays Rachmaninoff

ASIN: B00005MO9U
Release Date: 2002-09-17

Customer Reviews:

THE Performance of this Symphony.......2007-05-20

The original recording was made in 1966. Of course it lacks the super-hi fidelity of todays DDD recordings, however, the performance of Marie Clair Alain and that of conductor Jean Martinon by far overshadows the shortcomings of fidelity. I have three other performances of this work and have heard actually dozens more and this disc tops them all. It was like hearing the great Symphony for the first time.

The Glory That Was France.......2006-04-03

This CD is especially appreciated as a reminder of the prominent position France once held in the musical and artistic world as well as the international arena. I mean, how much more French could you get - Camille Saint-Saens, Francis Poulenc and Marie-Claire Alain - three musical giants.

This is really a wonderful album, deeply felt, the Gallic flavor quite intense. It is NOT just an organ CD: "Le Rouet D'Omphale" and "Danse Macabre" are included as well as the two signature works - the Third Symphony by Saint-Saens and the Concerto for Organ in G Minor by Poulenc. In an ironic turn, the (in my opinion) inferior Saint-Saens has triumphed in the public mind over the far superior Poulenc. When one considers the treatment of the organ and orchestra, there is no contest. Also, the work by Poulenc had a striking originality - from the gargantuan theme to the "merry go round" finale (what a stroke of genius).

Although the Third Symphony pales slightly by comparison, Alain gives her 110% as she does on all her recordings. She has stated in the past that she has no national preference but undeniably she arises to the occasion when performing Widor, Vierne, Franck or any works by her own famous relatives. This CD is an easy five star. PLEASE - if you want to hear the organ in all its glory (it's the famous Saint Sulpice), purchase GREAT TOCCATAS with Ms. Alain - a stunning work of incredible virtuosity.

Outstanding in every way.......2005-05-07

Jean Martinon was a superior conductor, especially in his native French repertoire. This CD has excellent sound, great orchestral playing and highly musical interpretations. Everything sounds just right. If you buy this CD, program it to end with the symphony. It will give you 71 minutes of pure, musical pleasure.

Average customer rating:

Jaroussky has a gifted voice
a voice teacher and early music fan
Jaroussky is exceptional
A pleasant surprise
Another Fine Countertenor Lights Up The World!

Vivaldi: Virtuoso Cantatas
Philippe Jaroussky , Unspecified , Antonio Vivaldi , Ensemble Artaserse , and Claire Antonini
Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

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Un Concert Pour Mazarin

ASIN: B0006IQM4O
Release Date: 2005-04-12

Tracks:

Aria: Alla Caccia Dell'alme E De' Cori
Recitativo: Ma Sia Crudele O Infida
Aria: Preso Sei Mio Cor Piagato
Recitativo: Qual Per Ignoto Calle
Aria: Quel Passagier Son Io
Recitativo: Deh, Piu Non Regni Nel Tuo Gentil Petto
Aria: Qual Dopo Lampi E Turbini
Piangero Sinche L'onda - Ruggiero
Prelude After Vivaldi (Theorbo Solo)
Aria: Care Selve, Amici Prati
Recitativo: Ben Mal'accorto E Folle All'or Io Fui
Aria: Placido In Letto Ombroso
Largo
Allegro
Largo
Allegro
Recitativo: Perfidissimo Cor! Iniquo Fato!
Aria: Nel Torbido Mio Petto
Recitativo: Cosi Dunque Tradisci Chi Contenta
Aria: Piu Amar Non Spero, No
Di Verde Ulivo - Vitellia
Recitativo: Pianti, Sospiri E Dimandar Mercede
Aria: Lusinga E Del Nocchier
Recitativo: O Ingannato Nocchiero
Aria: Cor Ingrato Dispietato

Customer Reviews:

Jaroussky has a gifted voice.......2006-06-21

In early polyphony, the contratenor was a voice part in melodic counterpoint against the tenor. It was written roughly in the same range as the tenor. In the 15th century, contratenor split into contratenor altus and contratenor bassus, which were respectively above and below the tenor. By the 16th century, however, the term became obsolete as Latin lost popularity. In Italy, the contratenor altus became simply alto; in France, haute-contre; in England, countertenor.

Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.

The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.

Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.

a voice teacher and early music fan.......2006-05-20

The vocal selections on this disc include 2 arias from Vivaldi operas. However, at that time the cantatas and the operas were very closely aligned using the same instrumentation and truthfully it would be difficult to tell the difference between them had I not been previously informed. Jaroussky has excellent vocal technique;in fact in some passages he astounds the listener. His aria :Cor ingrato dispietato (from an opera) displays amazing breath control and clean clear notes. If there is something lacking it is in slow passages that demand more intensity and emotion; age and experience will certainly help!!!And his voice sounds better when the music has a high tessitura. He's a fresh new voice in the world of countertenors. My appreciation knows no bounds for the "Ensemble Artaserse";they are truly excellent and skilled on their instruments; wonderful to hear. This is really a great disc!!!!

Jaroussky is exceptional.......2005-09-07

Jaroussky's singing adds to the growing interest in Vivaldian opera. His performance of "Qual Dopo ..." is both a demonstration of the great technique and artistry of his beautiful voice. For those curious to explore his singing range, try his masterful deliverance of arias such as "Tu m'offendi",from La Verita en Cimento, and "Sol da te", from "Orlando Furioso" where he honors the composer with the nuances, adornments, and melodic draws of his voice. This CD would have showcased the cantata genre much better had the musical selection been more diverse in note and tempo. Nonetheless, Jaroussky is at his best!

A pleasant surprise.......2005-05-20

Countertenor is not this reviewer's favorite range of male singer. That's probably so because it is both unfamiliar and underperformed and, when it is sung, never comes off as quite natural to the singer himself. In many respects, it really is an outdated male vocal range that should have gone the way of castrati. Interestingly, it seems to going in just the opposite direction. At least Virgin Classics must think so because last month it released a new CD by countertenor Philippe Jaroussky singing Vivaldi Cantatas, with the Ensemble Artaserse -- and it is surprisingly good. The CD consists of a couple quite beautiful period solo ensemble selections, theorbo etc. (See cut #9 "Prelude to Vivaldi") and vocals that demonstrate the best of what a countertenor sounds like, most notably Piangero Sinche L'onda, Ruggiero. Mr. Jaroussky's voice is both agile and open and his diction is punctuated and enhanced by a smooth delivery that is passionate enough, such that each piece comes off as a personal story that truly captivates the listener. An added plus is the fact that the thematic organization of this CD is even. In other words, you won't be reaching for the "skip" button here. The quality of the recording, too, is excellent. Although many listeners prefer the live aspect of concert performances, the very thing that attracts, can also produce a hollow, almost metallic sound in a live hall. In Cantatas, you won't find any unevenness or harsh selections. You might even find that you are pleasantly surprised by how intriguing it is.

Another Fine Countertenor Lights Up The World!.......2005-04-13

This exciting recording of Vivaldi cantatas for solo voice and instrumental ensemble is one of the more compelling releases of the year to date! While the music of the glorious Venetian Antonio Vivaldi is well known, especially the standard repertoire `The Four Seasons' and the choral works and chamber works - even some operas - the cantatas are rarely performed and this CD of his best ones should change that.

Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.

Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.

This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05

Average customer rating:

"Harvest Home" Serves Up a Feast
Amazing
Exquisite
Exquisite
Emotional and poignant

Harvest Home

Manufacturer: Gothic Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000B8QFBY
Release Date: 2005-10-11

Tracks:

Beautiful River (Shall We Gather At The River)
Simple Gifts
She'll Be Comin' Round The Mountain
Peace
McKay
A La Claire Fontaine
Deep River
We Gather Together
Not One Sparrow Is Forgotten
Cindy
Gentle Annie
We Shall Walk Through The Valley In Peace
The Water Is Wide
By And By
The Old Church
Lay Me Low
The Road Home

Album Description

This CD is the second of the final CDs to be issued by The Dale Warland Singers, who disbanded in 2004. The program is a "harvest" of popular songs, hymns and spirituals, including "Simple Gifts," "Deep River," and "We Gather Together". The Grammy-nominated Dale Warland Singers were specialists in performing American works. Includes 16-page booklet with full texts and notes on the works! The Dale Warland Singers CDs are among the best selling American choral CDs in recent history. This CD is a "volume 2" of their best seller, Blue Wheat, issued previously on ACC. Based in Minneapolis/St. Paul, the Dale Warland Singers were recognized as one of the world's foremost a cappella choral ensembles. This 40-voice professional choir recently celebrated its 31st and final season of concerts, tours, radio broadcasts, and critically acclaimed recordings, following the retirement of founder and director Dale Warland.

Customer Reviews:

"Harvest Home" Serves Up a Feast.......2006-03-10

Most CD recordings of choral music do not attract the attention of the population at large, and "Harvest Home" is clearly an exception. Word came to me about this remarkable album through a fellow faculty member at the Boston Conservatory. He was rightly proud of having written two of the arrangements, but prouder still of the fact that it had become a red-hot bestseller through the word-of-mouth network of choristers all over the country. Needless to say, I was curious but a bit skeptical. Generally, things that become that popular have an aesthetic downside. I ordered my copy from Amazon and got it just before I left to go to a concert with a couple of musician friends. We were frankly thrilled with the quality of the singing, the beautifully shaped nuances, and the richness of the several of the arrangements. It is clear that its popularity among choral singers has to do with the musical material, as with its execution. The arrangements are based on mostly religious American folk songs and show off the delicate intonational skills of Dale Warland's legendary group. It's just the kind of thing that church choir members can really appreciate, but unfortunately cannot stand up to repeated listing -- it has to be the work of great composers for me to hear recordings over and over again. Nevertheless, I played it for my choral group, and they jumped all over it. That's the market audience. Bravo, Mr. Warland.

Amazing.......2005-12-26

I've been a fan of the Dale Warland Singers for a long time, and attended many of their concerts. This recording displays perfectly what the choir was capable of. I listen to it constantly. Many of these arrangements are the best I've heard of these songs. "Deep River" is better than that of Chanticleer or Cantus. "She'll be Comin Round the Mountain" is really fun. I got the chance to sing it a few years ago and will never forget it. You NEED to buy this CD. It's well worth the money.

Exquisite.......2005-12-18

Buy this album! This is the finest recording I have purchased this year. The exquisite tonality and the arrangements have kept me listening every day. The audio quality is outstanding - balanced, finely nuanced, lovely soundstage. If you enjoy choral music, purchase this album - NOW.

Exquisite.......2005-11-16

I purchased this on a whim and it is been in my 5-disc player ever since. I have always loved choral settings of folk songs and hymns (with one exception - "The Water is Wide" should never ever ever be sung by a chorus - it doesn't work, but it is the only track I skip on this disc). The selections are all old favorites in often harmonically lush arrangements. Hawley's arrangement of "Not One Sparrow" is transcendent and has become my morning prayer, "Lay Me Low" my evening meditation. The singing is as near perfect as can be, musicality is stunning, and technical merits are high. I cannot recommend this disc enough.

Emotional and poignant.......2005-11-07

On Harvest Home, the Dale Warland Singers delve into the rich legacy of mostly American sacred and folk music. With the lush vocal orchestrations and thoughtful arrangements, many of these familiar songs take on new life and emotional depth.

As a boy, I grew up in the Mennonite church tradition and one of the distinctive things about our church services was the a cappella 4-part harmony. As I got older, I thought this was a bit odd and wished we used instruments in church like most people. In looking back now, I am thankful for that tradition and what it taught me about music and harmony.

Throughout high school I was involved with choral groups, doing several programs each year. The first year after high school I spent a few months at a religious school that had a long-standing tradition of chorale music. I well remember the hours of rehearsal to get the song just right, practicing enunciation and dynamics and expression.

So when I hear a group like the Dale Warland Singers, I have a small insight into the dedication it takes to do choral music at the level of this recording. These are singers and a director at the top of their game, with attention to detail everywhere, creativity in the arrangements and technical brilliance. And what a vocal range, with "how low can they go" bass and sopranos that my normal laptop headphones have trouble reproducing without distortion.

I've long been a fan of spirituals; they are at times moving to hear, at times playful and fun (and can be even more fun to sing). This album features a couple of my favorites: "Shall We Gather At The River" and "Deep River". Upon first hearing this rendition of the latter, I was nearly moved to tears by the stark beauty and emotional depth of this arrangement. It's a prime example of the power of music to take us places emotionally and connect us with the deeper feelings and longings of the soul.

In addition to several spirituals, there is a unique variety of other religious pieces pulled from the traditions of Quakers and Baptists among others. The album also mines some rich treasures from the Shaker tradition, including the comforting "Not One Sparrow Is Forgotten" and the poignant tenderness of "Lay Me Low', with the simple text of

Lay me low where the Lord can find me, where the Lord can own me, where the Lord can bless me

Not everything leans towards the serious or sacred though. A fun, light-hearted arrangement of "She'll Be Comin' Round The Mountain" (arr. by Emma Lou Diemer) features bouncing bass lines and lots of syncopation and sibilance to keep things interesting. And the traditional Dixie folk song "Cindy" tells the story of a heartsick man with tongue-in-cheek lyrics that playfully bounce from part to part.

The liner notes are exceptional, with lots of helpful historic and musical notes on the various selections. This is one of the final albums from The Dale Warland Singers after 31 years. The group disbanded in May 2004 so that the founder Dale Warland could focus more on teaching, consulting and guest conducting. He certainly has left his mark on the choral landscape and this recording is no exception. Highly recommended if you appreciate choral music, especially traditional folk and sacred selections.

Durufle: Requiem, Mass-Con Jubilo, Motets / Plasson, von Otter

Average customer rating:

Such a Beautiful Requiem
Great French Music
All things bright and beautiful...
PERFECTION!!

Durufle: Requiem, Mass-Con Jubilo, Motets / Plasson, von Otter
Maurice Duruflé , Michel Plasson , Anne Sofie von Otter , Marie-Claire Alain , Thomas Hampson , Orchestre du Capitole de Toulouse , and Orféon Donostiarra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Duruflé: Requiem Op.9/Messe Cum Jubilo,Op.11

ASIN: B000031X3K
Release Date: 2000-02-01

Tracks:

Requiem pour soli, choeur, orchestre & orgue, Op.9: I Introit
Requiem pour soli, choeur, orchestre & orgue, Op.9: II Kyrie
Requiem pour soli, choeur, orchestre & orgue, Op.9: III Domine Jesus Christe
Requiem pour soli, choeur, orchestre & orgue, Op.9: Hostias
Requiem pour soli, choeur, orchestre & orgue, Op.9: IV Sanctus
Requiem pour soli, choeur, orchestre & orgue, Op.9: V Pie Jesu
Requiem pour soli, choeur, orchestre & orgue, Op.9: VI Agnus Dei
Requiem pour soli, choeur, orchestre & orgue, Op.9: VII Lux aeterna
Requiem pour soli, choeur, orchestre & orgue, Op.9: VIII Libera me
Requiem pour soli, choeur, orchestre & orgue, Op.9: IX In Paradisum
Messe (cum jubilo) pour baryton solo, choeur de barytons, orchestre & orgue, Op.11: I Kyrie
Messe (cum jubilo) pour baryton solo, choeur de barytons, orchestre & orgue, Op.11: II Gloria
Messe (cum jubilo) pour baryton solo, choeur de barytons, orchestre & orgue, Op.11: III Sanctus
Messe (cum jubilo) pour baryton solo, choeur de barytons, orchestre & orgue, Op.11: IV Benedictus
Messe (cum jubilo) pour baryton solo, choeur de barytons, orchestre & orgue, Op.11: V Agnus Dei
4 Motets sur des themes gregoriens pour choeur a cappella, Op.10: I Ubi caritas (4 voix mixtes)
4 Motets sur des themes gregoriens pour choeur a cappella, Op.10: II Tota pulchra es (3 voix de femmes)
4 Motets sur des themes gregoriens pour choeur a cappella, Op.10: III Tu es Petrus (4 voix mixtes)
4 Motets sur des themes gregoriens pour choeur a cappella, Op.10: IV Tantum ergo (4 voix mixtes)
Notre Pere pour choeur a cappella (4 voix mixtes), Op.14

Amazon.com

This is the 1947, full-orchestra version of Maurice Duruflé's Requiem, one of the 20th century's most beloved choral works. It's the first of three versions the composer made of the piece. Despite the enhanced intimacy of the smaller-scale versions, the original offers a rich orchestral tapestry, especially compelling in the performance by Michel Plasson's forces, without diminishing the work's radiant beauties or its spiritual depths. Those virtues are enhanced by the singing of Anne Sofie von Otter and Thomas Hampson. The chorus, a weak element in the Requiem, shines brighter on the rest of the disc, which gathers all of Duruflé's choral music. The Mass is more assertive than the Requiem and should be heard more often. It gets a powerful performance here, as do the miniature Motets, intense in their restrained beauties. --Dan Davis

Customer Reviews:

Such a Beautiful Requiem.......2006-04-20

If you're a fan of requiems (especially the ones made by Brahms, Faure, and Berlioz) then you'll love this one by Maurice Durufle. It sounds so angelic and passionate. Michel Plasson's superb handling of the Orchestre du Capitole de Toulouse and the Orfeon Donostiarra gives makes this piece of work shine with full fervor and magnificence. The vocal soloists, von Otter and Hampson, never miss a step. This is a beautiful, but sometimes neglected, requiem, and it should be more recognized from outside of France.

Great French Music.......2006-02-27

I love this composition and its rendition by Michael Plasson. However, the inept sound recording used on this CD greatly reduces its value. Wish it were issued on SACD.

All things bright and beautiful..........2005-09-01

I've listened to 4 different recordings of Durufle's Requiem closely: Santa Cecilia National Academy Orchestra Rome with Cecilia Bartoli and Conducted by Myung-Whun Chung, Voices of Ascension Chorus & Orchestra with Patricia Spence and Conducted by Dennis Keene, Atlanta Symphony Orchestra & Chorus with Judith Blegen and Conducted by Robert Shaw, and this one. And I have to say that this is my favorite. The textures are richer and the performances by the orchestra and choir are better than the others. I will admit though that Cecilia Bartoli gets my vote for most beautiful performance of the Pie Jesu, but Anne Sofie von Otter's rendition is also very nice.
However, if you're looking for just one recording of Durufle's Requiem, this should be the one.

PERFECTION!!.......2001-08-13

This is one of the most beautiful CDs on the face of the planet. Durufle, a composer of the French Organ School, was a composer who possessed much reserve and this shows through in the restrained beauty of his music. Of particular interest is Track 16, UBI CARITAS--Durufle as well as the chorus are at their best here. The chorus sings the beautiful motet gently and with much feeling. The sublime beauty of this work of art instantly brings Durufle as an equal to that of Mozart, Bach, Handel, Vivaldi, and Beethoven. This music is not for those who like humungous bangs but rather those who can appreiate the quiet dignity of this man's work.

Average customer rating:

Also disappointed
too fast
On the fence
Magisterial
Masterful performance of great works

Great Toccatas

Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
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Michael Murray At The Cathedral Of St. John The Divine: Works By Franck, Widor, Dupré, Bach and Others
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ASIN: B000005ECA
Release Date: 1994-05-03

Tracks:

Toccata BWV 565: Toccata And Fugue In D Minor
Toccata De La Symphonie No. 5 In F Major, Op. 42
Toccata For Organ In G Major
Toccata For Organ In B Minor
Suite Gothique: I. Introduction - Choral
Suite Gothique: II. Menuet Gothique
Suite Gothique: III. Priere A Notre-Dame
Suite Gothique: IV. Toccata
Sonate No. 1 In D Minor, Op. 42: Final
Pieces De Fantaisie: Carillon De Westminster (3rd Suite Op. 54)
Pieces De Fantaisie: Toccata (2nd Suite Op. 53) In B Flat Minor
Toccata Sur L'Antienne: 'Cantemus Domino'
Litanies

Customer Reviews:

Also disappointed.......2007-06-18

Let me add my voice to those who are disappointed with the pieces. Ms. Alain is, as has been pointed out before, technically brilliant, but the feeling I got was "let's get this over with", not "I can't wait to play this!". There are a couple of what I call "mad scientist" pieces that are good introductions to those new to organ music, and this CD is great for that purpose. But the Bach and the Widor are way too rushed; these fantastic pieces are much to...well...fantastic, to be rushed. Every hemisemidemiquaver, every pedal tone, every flourish needs to be played, with the reverence that you give music of this stature. Here, while Ms. Alain obviously knows the music, she doesn't convince that she loves it. Three stars is sufficient, sadly...

too fast.......2006-07-01

I bought this CD for the Widor and Bach. Both are played too fast. In each case, either the artist was trying to finish as quickly as possible or the technician accelerated the recording to get another peice included. In either case, there was no music, only speed. I was very dissapointed, because those are truely outstanding pieces when played at a reasonable pace. I am still looking for an excellent recording of the Widor piece.

On the fence.......2005-09-06

I received this disc from a French visitor and have listened to it several times. I still have the uncomfortable feeling that Ms. Alain is playing these pieces for the umpteenth time, and while they are technically brilliant, they seem a bit soul-less to me. I have an old vinyl recording by E. Power Biggs (who seems to have been at the opposite end of the spectrum from the Romantic school of organ music), and those recordings of French organ music, many of which are on the CD in question, had real feeling behind them. Still, there is no denying the power of this music.

Magisterial.......2003-03-02

To properly appreciate this record one should (of course) hear it live, preferably in a church with excellent acoustics. It must be admitted, though, that this CD is the next best thing.
The depth and sonority of sound is difficult to match and it goes without saying that the artistry in both interpretation and handling the sheer difficulty of the pieces is unmatched.

The Romantic Era organ was the Golden Age for keyboard music - whether organ or piano. Yes, Bach will always be first in the pantheon of Pipe Gods (I count his Prelude in B Minor as the first Romantic Organ work). But the evolution of the physical instrument brought forth somthing new -the French organ with all the magnificent sonorities. With composers writing for that instrument, organ music reached an apotheosis before being dragged down by various "modern" works that must be explained to listeners in case they thought the sounds from the stage were noise or a malfunctioning keyboard.

This is a great CD that all lovers of organ music should own. The Toccatas heard here are some of the best and one is constantly aware of the great men who wrote them.

Masterful performance of great works.......2000-07-25

Alain performs some of the best toccatas written for organ in her typical, near-perfect style. This CD is far better in musical and recording quality than comparable compilations of popular organ music. You will also enjoy her CD, "Les Bis Pour Orgue" or "Organ Encores".

Average customer rating:

the actual first solo Beatle project!
It Seems To Be...
Great to finally have available, but could've been better

The Family Way - Original Sound Track

Manufacturer: Xxi-21 Canada
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

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Old Wave

ASIN: B00008W6RI
Release Date: 2003-03-31

Tracks:

Family Way - Original Sound Track - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Original Sound Track (Continued) - George Martin & His Orchestra
Family Way - Variations Concertantes Opus 1: I - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way - Variations Concertantes Opus 1: II - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way - Variations Concertantes Opus 1: III - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way - Variations Concertantes Opus 1: IV - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way - Variations Concertantes Opus 1: V - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way - Variations Concertantes Opus 1: VI - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way - Variations Concertantes Opus 1: VII - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way - Variations Concertantes Opus 1: VIII - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way - Variations Concertantes Opus 1: IX - Carl Aubut, Claudel String Quartet, Claire Marchand,
Family Way (Theme) [Samba]
Family Way (Theme) [Waltz]
Family Way (Theme) [Rondeau]

Album Description

The very rare original recording of Paul McCartney's first solo venture, THE FAMILY WAY Sound Track composed in 1966 and performed by The George Martin Orchestra. To complete the program, we have included Carl Aubut's own arrangements and performance of the same music along with Anthony Rozankovic's arrangements performed by The Flûte Enchantée Quartet released on the ATMA label: both recordings authorized by Sir Paul McCartney himself.

Album Description

The soundtrack to the film 'The Family Way', with music composed by Paul McCartney & performed in part by the George Martin Orchestra. While on a break between 'Revolver' & 'Sgt. Pepper' in late 1966, & with touring now out of the question & John Lennon off making the film 'How I Won the War', Paul McCartney tried his hand at a film score with a lot of help from Beatles arranger/producer George Martin. The rather pleasing result is one of the most elusive souvenirs of the Beatles' high tide in the '60s, long out of print, & commanding sky-high prices on the collectors' circuit. Only 24 minutes in length, the album is a collection of film cues based on a single McCartney tune, 'Love in the Open Air'. XXI-21 Records.

Album Details

First Time on CD, the Original 1966 Movie Soundtrack with Music Written by Paul Mccartney and Performed by the George Martin Orchestra.

Customer Reviews:

the actual first solo Beatle project!.......2007-06-14

An interestingly historical work, featuring Paul's original soundtrack music plus newer recordings that expand the scope of the piece. George Martin deserves major credit for translating Paul's ideas into symphonic reality. Quick shipping and quality product!

It Seems To Be..........2004-04-30

Sourced from vinyl. The original 1966 music that is. I've noticed numerous pops, hiss and clipping on the brass throughout the cd and the jumping back and forth from mono to stereo is a hassle. Still, it's nice to have these tracks coupled with the newer versions. Although, I should point out this cd is missing both versions from the original George Martin single and the alternate theme song by the Tudor Minstrels. There's a boot floating around with all the '66 versions in great quality. Search this one out if you're longing to hear these recordings in better quality.

Great to finally have available, but could've been better.......2003-08-27

Although it's great to finally have the complete 1966 Paul McCartney/George Martin score, it's important to note that I feel the producers missed an opportunity to make this CD the definitive issue. Although the newer tracks featuring guitarist Carl Aubut from 1995 & the Quatuor La Flute Enchantee from 1998 sound wonderful, they are nevertheless re-recordings of the McCartney score. What fans want to hear is the original 1966 George Martin Orchestra performed tracks (#1-#13). Unfortunately these tracks, to my ears, seem to come from an inferior tape source. To be fair, the interviews in the CD booklet with McCartney, Martin & Aubut are enjoyable and informative. Most importantly, the music itself is good. My only quibble is with the source of the 1966 recordings. While it's certainly listenable (there are no noticable dropouts, early fades or vinyl pops) at times the solo acoustic guitar just sounds muddy. Some tracks have a bit more hiss than others. The fact that the producers of this CD have opted to use primarily mono masters mixed with an occasional stereo one just doesn't make sense. Original stereo versions of the LP feature every track in stereo. Why did they opt to only use a few for this CD edition? Another minor point is track timings listed on the back cover for the original 1966 recordings are incorrect. So, IMHO, a definitive issue still needs to be done. A single from 'The Family Way' film entitled "Love In The Open Air" is available on the George Martin box set 'Produced by George Martin'. It's sound is very clear & clean, albeit in mono. So...I believe a better tape source is available...somewhere. My own vinyl version sounds better than this CD. It should be noted stereo versions of the original '66 album have appeared on bootleg CD's but even those are rather spotty in quality, utilizing a vinyl source and changing the tracks running order(!). At least the bootleg gives you the music in stereo. The definitive version of this film score would still be the ultra rare stereo LP if you can ever find one and you're willing to spend big bucks. But..until then, this CD will do just fine. It's really quite enjoyable if it's all you have, but it's just a shame that it wasn't done a bit better. Let's hope next time someone who really cares about these important recordings will handle them with the loving care they deserve and really deliver the goods to longtime McCartney fans. Recommended, but could've been better.

The Essential Songs of Andrew Lloyd Webber

Average customer rating:

Okay, but kind of disappointing
Not quite what I expected...
Some great performances, some not so great...
Disappointed
Musical Talent at Its Best

The Essential Songs of Andrew Lloyd Webber

Manufacturer: Metro Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005Y47E
Release Date: 2002-02-22

Tracks:

Any Dream Will Do
Close Every Door
Heaven On Their Minds
Everything's Alright
Gethsemane
I Don't Know How To Love Him
Jesus Christ Superstar
Could We Start Again Please?
Don't Cry For Me Argentina
Another Suitcase In Another Hall
Buenos Aires
Rainbow High
High Flying Adored
Memory
Jellicle Cats
Mister Mistofeles
Unexpected Song
Last Man In My Life
Rolling Stock
U-N-C-O-U-P-L-E-D

Tracks:

Only You
Starlight Express
There's Me
Pie Jesu
Angel Of Music
Masquerade
Wishing Somehow You Were Here Again
All I Ask Of You
The Phantom Of The Opera
Music Of The Night
Love Changes Everything
The First Man You Remember
Seeing Is Believing
As If We Never Said Goodbye
Sunset Boulevard
With One Look
Too Much In Love To Care
Half A Moment
Whistle Down The Wind
Our Kind Of Love

Album Description

Full title, 'Essential Songs Of Andrew Lloyd Webber'. UK budget-price compilation. 40 superlative performances featuring songs from every one of Andrew Lloyd Webber's hit musicals. Guest artists include John Barrymore, Issy Van Randwyck, Dave Willetts, Maria Friedman, Kim Criswell, Graham Bickley and the National Symphony Orchestra. Housed in a slipcase. 2002.

Customer Reviews:

Okay, but kind of disappointing.......2006-04-17

This isn't a bad recording, but the tracks are not the actual performances off of any cast recording of any of Andrew Lloyd Webber's musicals. The reditions of the songs on the disc are of varying quality. Some are pretty good. Some are borderline awful.
It is a good collection for inexpensively getting a lot of Andrew Lloyd Webber's most popular songs in one place and having them there to be able to listen to get the idea of what a certain song sounds like and is about. It isn't the collection of definitive recordings for certain roles. In fact in a couple examples, I wonder if the performer fully understood the context of the song he or she was singing &/or what it was about. Overall, the album is good, for the most part, if not excellent.

However, the liner notes for "The Essential Songs of Andrew Lloyd Webber" is another matter. I don't mean to be unkind, but the author of the comments on the different tracks (one Rexton S. Bunnett) is blatantly WRONG in multiple instances. I don't mean just in nit-picky details, but in major plot details/context of songs, like the fact that Bunnett identifies "Wishing You Were Somehow Here Again" as being sung by "our heroine" (who he does not even identify by name as Christine Daae) as she thinks about her lover, not as being sung about Christine's dead father. He also says that the Phantom has found his perfect love and "Angel of Music" in Christine... because HE is the Angel of Music who Christine believes has been sent to her by her dead father, and because although the Phantom is obsessed with Christine, that relationship is far from "loving" (even if Christine shows him compassion. I feel like these (and a couple other mistakes) are major plot points to get wrong. A good amount of the commentary reads as if Bunnett might have written it at the last minute, fudging his way through entries on musicals of which he had little knowledge; like what an essay I might write on a book I never read for my college class but had quickly looked up on Cliff's Notes would sound like. In terms of sheer editing, there are spelling mistakes, run-on sentences and spacing errors ("Any DreamWill Do")in the liner notes. Where was the copy editor?
And the most frightening fact of all, under Bunnett's credentials, it says "Harper Collins has just published his revision and updating of the Collins Book of the Musical."
I am being very critical, but I think that for a widely-released CD it is reasonable to expect the liner notes to be at a professional level, as they were most likely supposed to be.

Not quite what I expected..........2005-04-23

I was looking for a CD of the original performances and this CD doesn't have them. I suppose it was my fault for not looking closer, but the songs just weren't the same. Personally, I was not impressed. If you don't care that they aren't the originals then it is nice to listen to.

Some great performances, some not so great..........2005-04-18

This CD is actually pretty good, considering you get 40 songs for less than $16. Let's evaluate the pros and cons.

Pros:

Two classic songs that are performed excellently are Phantom of the Opera and I Don't Know How to Love Him.

Of course you want to compare Phantom to the classic Michael Crawford/ Sarah Brightman version. Well, guess what? This version is BETTER. The woman has a deeper voice than Brightman, and her singing style is just awesome. The ending of this version (you know, the "Sing, my angel of music, sing for me!") is different, but in a good way... I think.)

And of course, the standard for I Don't Know How to Love Him is Yvonne's version. This version is different, but it grew on me quickly. This version has a country feel to it, almost. Somehow it works and sounds great.

There are a lot of great performances in this collection. My favorites include: Heaven on Their Minds, Everything's Alright, Could We Start Again Please, Another Suitcase in Another Hall, Buenos Aires, Rainbow High, Only You, Starlight Express, Angel of Music, Masquerade, All I Ask of You, Half a Moment, and Whistle Down the Wind. I think they're all great versions of their more famous counterparts.

Cons:

First of all, there are some technical problems that are kind of disappointing. A few of the songs have a very echoey sound. Any Dream Will Do, Another Suitcase in Another Hall, Wishing You Were Somehow Here Again, and There's Me are the songs that come to mind that are the worst in this regard. It isn't really bad, just enough to be slightly annoying, more so when the volume is turned way up on your CD player.

A few songs are worthy of skipping over when listening to this collection. In my opinion, Superstar, Sunset Boulevard, and Gethesmane are the biggest disappointments.

Superstar just doesn't cut it for me. The singer really overdoes it, making it overstylized... really makes you yearn for Murray Head. I can't stand listening to it. Just my opinion.

Sunset Boulevard is one of my very favorite musicals, so I was really hoping that the singer would do justice to its title song. Unfortunately I don't think he did. You can't help but compare it to Alan Campbell's fantastic version. This guy has a very choppy way of singing, when I'm used to it being sung so smoothly. Maybe it would grow on me, but I don't think I'll give it a chance to. However, that last note is much stronger than Alan Campbell's. It doesn't make up for the rest of the song, though.

Finally, Gethsemane. The inevitable fact is that NO ONE can sing this song like Michael Ball. This guy tries, he really does. But he doesn't have the right voice or the right style. So please listen to Michael Ball's performance of Gethsemane if you want to know how breathtaking of a song it can be. It's on the Royal Albert Hall DVD, and I'm sure he's got it on one of his CDs.

Anyway, overall, this is a good CD if you like quantity over quality. Don't buy it for the classics, you'll probably end up disappointed with many of them. Buy it for the lesser known songs. You probably won't like every song, especially if you're a big ALW fan, but for the price, it's worth it.

If you want classic versions of classic ALW songs, you might prefer something like "The Very Best of Andrew Lloyd Webber: The Broadway Collection".

Disappointed.......2005-03-11

The singer(s)does not do justice for the lyrics. It was grating to the ears. Save your money for the originals.

Musical Talent at Its Best.......2003-01-03

What a pleasure to hear a collection of Andrew Lloyd Webber's beautiful music from such wonderful voices accompanied by an outstanding symphony. This sensational CD is a treasure to own.

Debussy & Ravel: Piano Works - Samson Francois (6 CD's)

Average customer rating:

great pianist!!!!
Yesterday Francois would be celebrating his eighty-two anniversary

Debussy & Ravel: Piano Works - Samson Francois (6 CD's)
Samson Francois , Claude Debussy , and Maurice Ravel
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

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ASIN: B0002RUAEM
Release Date: 2004-11-02

Tracks:

1. Danseuses De Delphes
2. Voiles
3. Le Vent Dans La Plaine
4. Les Sons Et Les Parfums Tournent Dans L'Air Du Soir
5. Les Collines D'Anacapri
6. Des Pas Sur La Neige
7. Ce Qu'a Vu Le Vent D'Ouest
8. La Fille Aux Cheveux De Lin
9. La Serenade Interrompue
10. La Cathedrale Engloutie
11. Danse De Puck
12. Minstrels
1. Brouillards
2. Feuilles Mortes
3. La Puerta Del Vino
4. Les Fees Sont D'Exquises Danseuses
5. Bruyeres
6. General Lavine (Eccentric)
7. La Terrasse Des Audiences Au Clair De Lune
8. Ondine
9. Hommage A S. Pickwick Esq. P.P.M.P.C.
10. Canope
12. Feux D'Artifice

Tracks:

1. Reflets Dans L'eau
2. Hommage A Rameau
3. Mouvement
1. Cloches A Travers Les Feuilles
2. Et La Lune Descend Sur Le Temple Qui Fut
3. Poissons D'or
Reverie
1. Andantino
2. Allegretto Scherzando
La Plus Que Lente, Valse
1. Pour Les Degres Chromatiques
2. Pour Les Agrements
4. Pour Les Sonorites Opposees
5. Pour Les Arpeges Composes
6. Pour Les Accords
Masques
L'Isle Joyeuse
Berceuse Heroique

Tracks:

1. Doctor Gradus Ad Parnassum
2. Jimbo's Lullaby
3. Serenade For The Doll
4. The Snow Is Dancing
5. The Little Shepherd
6. Golliwogg's Cake-Walk
1. Pagodes
2. La Soiree Dans Grenade
3. Jardins Sous La Pluie
1. Prelude
2. Menuet
3. Clair De Lune
4. Passepied
1. Prelude
2. Sarabande
3. Toccata

Tracks:

1. Allegramente
2. Adagio Assai
3. Presto
Lento/Allegro
1. Pavane De La Belle Au Bois Dormant - Pierre Barbizet
2. Petit Poucet - Pierre Barbizet
3. Laideronnette, Imperatrice Des Pagodes - Pierre Barbizet
4. Les Entretiens De La Belle Et De La Bete - Pierre Barbizet
5. Le Jardin Feerique - Pierre Barbizet

Tracks:

Pavane Pour Une Infante Defunte
1. Modere, Tres Franc
2. Assez Lent
3. Modere
4. Assez Anime
5. Presque Lent
6. Vif
7. Moins Vif
8. Epilogue: Lent
Prelude
Jeux D'Eau
Menuet Sur Le Nom D'Haydn
1. Noctuelles
2. Oiseaux Tristes
3. Une barque Sur L'Ocean
4. Alborada Del Gracioso
5. La Vallee Des Cloches
Emmanuel Chabrier (Paraphrase Sur Un Air De Gounod)
Borodine

Tracks:

1. Ondine
2. Le Gibet
3. Scarbo
1. Modere
2. Mouvement De Menuet
3. Anime
1. Prelude
2. Fugue
3. Forlane
4. Riguadon
5. Menuet
6. Toccata
Menuet Antique

Customer Reviews:

great pianist!!!!.......2007-02-16

samson was one of the greatest pianists of the 20th century his debussy was sublime and his color palete to impresionism is unsurpassed. could someone tell me if these recordings of his debussy are the stereo ones

Yesterday Francois would be celebrating his eighty-two anniversary .......2006-05-19

Samson Francois figure has evidenced slow but increasing enhancement through the years. His notable pianism, aristocratic approach and refined phrasing are some of his virtues.

If you still do not know about this legendary artist, no itý s the time for you to convince by yourself about the supreme level occupied by him.

When he left us in 1970 at his 46, he had so much to give. The musical world remained legitimately orphan and much more vile since his premature death.

But, fortunately his legacy will live among us, every time you listen any record you acquire of this peerless musician.

His Ravel is loaded not only of notable, sensual and asserive expressiveness. If you know about some other performance able to equal his Gaspard de la nuit, please, be my guest.

His Debussy is sober, eloquent with Impresionist flair and sublime musicality.

A true artistic and a fundamental treasure in your collection.

Berlioz - Te Deum / Alagna, M-C. Alain, Orchestre de Paris, Nelson

Average customer rating:

very impressive
After all this, I am still keener on Keene.
Strange sonic effects, decent orchestra, dodgy vocals
Not as keen on Keene
Berlioz Te Deum

Berlioz - Te Deum / Alagna, M-C. Alain, Orchestre de Paris, Nelson
Hector Berlioz , John Nelson , Roberto Alagna , Marie-Claire Alain , and Orchestre de Paris
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Berlioz: Harold in Italy Op16; Mort de Cléopâtre, scène lyrique
Russian Album
Peter Lieberson: Neruda Songs

ASIN: B000055Y1N
Release Date: 2001-04-10

Tracks:

Te Deum, Op.22: I. Te Deum Laudamus Hymne
Te Deum, Op.22: II. Tibi Omnes Hymne
Te Deum, Op.22: Prld
Te Deum, Op.22: III. Dignare Priere
Te Deum, Op.22: IV. Tu, Christe, Rex Gloriae Hymne
Te Deum, Op.22: V. Te Ergo Quaesumus Priere
Te Deum, Op.22: VI. Judex Crederis Hymne Et Priere
Te Deum, Op.22: March For The Presentation Of The Colours - Orchestre De Paris

Customer Reviews:

very impressive.......2006-12-29

I have this Te Deum, the one by Abbado and the one by Davis. This one has the best chorus, the clearest recorded, and it's the only one where the children's choir really can be heard distinctly. The Abbado is a good version also, played slower, and the string section noticeably more pronounced (especially noticeable at the climax at the great Tibi Omnes). The Davis one I don't particularly like, very muddy sound, not the sharpest ensemble. However, no matter how you subjectively look at it, there is no doubt this version has unique tracks not included in the other recordings, the Presentation of the Flags, etc.
Highly recommended.

After all this, I am still keener on Keene........2003-05-31

Some time back, I wrote a favorable review of the Berlioz Te Deum as performed in New York's Cathedral of St. John the Divine, under forces led by Dennis Keene, with John Aler as the tenor soloist. I said then that the Keene recording, on the Delos label, is an audiophile's delight, as well as a totally idiomatic performance of one of Berlioz's less familiar "ceremonial" or "occasion" works. (For that performance, the occasion was significant enough: The 100th anniversary of the American Guild of Organists.) The editorial reviewer was dismissive of that Keene effort, a point that was not lost on other customer reviewers besides myself, and was quite outspoken about favoring this Nelson recording.

Well, this being the Berlioz Bicentennial year, during which I've been spending a fair bit of time listening (and relistening) to Berlioz works as part of the celebration, I thought it a good idea to add the Nelson recording to my Berlioz holdings, if for no other reason than to see what all the fuss was about.

By all accounts, this Nelson recording should have been at least the equal of the Keene; all the proper ingredients seemed to be in place. John Nelson is an experienced and sympathetic Berlioz hand. Roberto Alagna may be our finest French tenor today (but the timbre of his voice may well be an acquired taste). Marie-Claire Alain is the French organist non pareil, and she has a marvelous instrument in the Cavaille-Coll organ at the Madeleine Cathedral in Paris. And the Madeleine is certainly a proper cruciform cathedral of more than satisfactory natural reverberance (as is the Cathedral of St. John the Divine, of course).

Given all that, my dissatisfaction with this performance set in very early on in the listening process, and subsequently didn't improve measurably. As this editorial reviewer makes clear (in a review that was "borrowed" from the Andante.com website), Berlioz's idea of setting the organ off (and against) the orchestral forces was meant to represent "Pope and Emperor." But the organ - awesome instrument that it is - simply overpowers the forces of the Orchestre de Paris. The effect can be overwhelming, but I doubt this is what Berlioz had in mind; surely he didn't think the Pope to be that much higher than the Emperor that the relative dynamic levels convey. And this is only the beginning of what I take as rather fundamental misbalances in sound level, both between organ and orchestra and within the orchestra as well.

My impression of the performance slipped another notch, with the initial exposed entry of the sopranos in the opening "Te Deum" movement, where their ensemble work is sloppy and their intonation hardly of world-class quality. One also begins to hear, here, the sense of less-than-ideal orchestral balance, with generally submerged strings and lower brass relative to the rest of the orchestra. (Most disconcertingly, this balance seems to change from time to time in the work, suggesting that someone may be twiddling knobs in a manner not in the best interests of the music.)

Whether one prefers the darker, almost baritonal, voice of Roberto Alagna in the "Te ergo quaesumus" movement to the more conventionally colored tenor of John Aler will be, I suppose, largely a matter of personal taste. I tend to believe that Berlioz had a timbre in mind that is much closer to Aler's than to Alagna's, but there is no disputing the fact that Alagna has the beauty and the authority, and the declamatory power when necessary, for this movement. To me, his voice is an acquired taste in this work; to others, this problem may not exist.

Things go awry again, regarding balances and timbres, in the concluding "Judex crederis" movement. For example, the trombones, such an important instrumental choir in the Berlioz orchestra, are anemic; almost unheard. And, toward the end of the movement, when the trombones are called upon to growl out their pedal tones, no one seems to be at home. In the concluding bars, Alain's organ once again is impressive. But it is at the expense of organ-orchestra balance: "The Pope wins! The Pope wins!"

By comparison, Keene's "Te Deum" is much better balanced, with neither the organ nor the orchestra overpowering the other (and with them in better tune with each other, often a challenge). Percussion in "Judex crederis" is appropriately dramatic. Choral entrances are spot-on and in-tune. Overall, Keene's Voices of Ascension Orchestra is far better balanced, top to bottom, than is Nelson's Orchestre de Paris, and Keene has a fine sense of Berliozian style, capturing the fleetness of some of the figures that is so characteristic of Berlioz. The sound may appear to be more diffuse than in the Nelson recording, but it is also more natural, without artificial spotlighting.

The Te Deum is a relatively short work, running barely 40 minutes. So the question of what is an appropriate filler arises, particularly a filler that can take advantage of the same acoustical space. Keene chose to provide a 20-minute commentary, with examples, about the work, which is fine for the Berlioz newbie but which can wear thin after a hearing or two. Nelson chose to add two rarely-performed emendations set forth by Berlioz "for ceremonial occasions": an instrumental "Prélude" as the third movement, mostly unobtrusive thanks to its relative brevity, and a concluding "Marche" following the "Judex crederis" which comes as a very out-of-place "coda" that destroys the effect that should linger at the conclusion of the work. Scored for multiple harps added to the orchestra, it is Berlioz at his most banal and eccentric, something he probably wished he had never written.

My advice, if you plan to add a recording of the Te Deum to your Berlioz library as part of the bicentennial celebration (or simply because you want a version of the work), remains that you acquire the Keene performance.

Bob Zeidler

Strange sonic effects, decent orchestra, dodgy vocals.......2002-11-14

The sound of this recording is at first hearing very impressive - full and bright, with plenty of bass, especially from the organ, and plenty of expansion at the climaxes. But there are balance problems and, worse, every time the choir sings the letter "s" the sibilance jumps out at you like a snake - Te Deum Laudamusss. The effect is really weird, as if they had a choir composed entirely of people with bad lisps. To make it worse they are rather sloppy with their "s"'s, smearing them out rather than taking them cleanly and quickly (which should be absolutely basic choral technique). Thiss leadss me to ssusspect that the production team did some messing around with the high frequencies, maybe boosting them to get a brighter sound but with this unwanted side-effect. Whatever caused it, it's very distracting.

The balance problems include extremely distant strings - in the first movement you essentially can't hear the violins. This is a shame because they add a lot to the varying textures of the music, as I discovered listening to the Abbado - and dominant brass and organ. If you want the organ to make the same amount of noise as the 80-piece orchestra, then fine, but I think the idea was for the organ to be an extra colour, blended and balanced within the orchestral texture, or a sort of echo, rather than a muscle-bound competitor. Even in the quieter passages the organ bass tends to boom.

The quality of the orchestral playing is very fine, but with the unequal recording the sound lacks depth, tending towards being "all on the surface". It also sounds as if the recording was made in a very resonant acoustic, since in the quieter passages the instruments and voices are somehow suspended in a sea of echoes, rather than having a clear focus. This sort of acoustic would be great for, say, a capella choral music or Gregorian chant, but tends to make Berlioz' vigorous orchestral accents into broad splurges.

The choir leaves a certain amount to be desired: the men, to be frank, sound like teenagers, with a strained, nasal and ill-supported timbre which doesn't blend (maybe this is the "French choir sound?"), and the women are noticeably flat in their exposed lines in the "Tibi Omnes". You can't hear this in Amazon's excerpts since they cunningly cut off just at the end of the orchestral introductions! However, in the louder tutti sections these defects are not so noticeable. The children are excellent.

I can just about stomach Alagna's solo - if this is bel canto, give me can belto any day. His tone quality is extremely uneven: half the time he seems in danger of turning into a baritone, half the time trying to be Pavarotti. While such variegation of colour might be appropriate for a melodramatic opera scene, Berlioz' solo with its long phrasing requires a simpler and less fervid approach. With Alagna, by the end of a phrase you and the music are exhausted by the sheer amount of "expression" he puts in.
Araiza for Abbado has a steadier tone and is much less indulgent. Again, all you can hear in Amazon's "sample" is the orchestral introduction - not much use.

Unfortunately the Abbado/DG version, which is in good digital sound and is a great overall interpretation, isn't available in the US: I got it from amazon.co.uk. Abbado's superb opera and orchestral conducting are evident and he treats the piece as a coherent whole, with an almost narrative flow, rather than a set of sonic showpieces interspersed with pious arias. The slow contemplative movements under Nelson tend to drag, which may have contributed to the sopranos' pitch problems; with Abbado they have direction.

Not as keen on Keene.......2001-06-10

My first experience with the Te Deum was Abbado's on Lp years ago. I have since lived comfortably with the Delos release featuring Dennis Keene and his augmented Voices of Ascention, recorded live in New York's St. John the Divine with nearly 400 musicians during the Centennial Celebration of the American Guild of Organists in June, 1996. Now I must say that I prefer this new Virgin release featuring John Nelson and Co.

Conductor and recording engineer bring out detail on the Virgin release that I just don't hear on the Delos. Though I'm not quite the expert on big organs of the world that I would like to be, I have to say I find Alain's Cavaille-Coll on Virgin to be every bit as earth shaking as the St. John instrument, but-whether fault of conductor, recording, or venue, (St John's is the largest gothic space in the world)-the St. John's on Delos is simply not as penetrating. This is particularly unfortunate for Delos in the final Hymne et Priere as the organ's descending pedal tones under the words "Judex crederis..." can provide for some viscerally thrilling moments. Listen to Virgin's success at this point. (Marie Claire-Alain-you go girl!)

In fact, there's a soft-edged quality in the Delos that affects and blurs not only the organ lines, but the choral and orchestral lines as well. Individual lines and colors are much more pronounced on the new Virgin CD. For example, Berlioz plays on the words "Per singulos" (day by day), by repeating the motif over and over again. I find Nelson's incisive approach much more invigorating than the soft-edged Keene, who makes the composer's cleverness at this point sound naïve--a danger in Berlioz. Ironically, I find Nelson's handling of the tender and poetic moments more effective as well. Alagna sings with adequate glow.

Speaking of naïve-sounding music, how shall I put it? When listening to Berlioz' "occasional pieces" such as the Te Deum, I would say the more polyphony and color brought out the better. This is what Nelson and his forces seem to successfully achieve. And the children's choir. I haven't heard kids chant so ominously since that poor obese boy met his cruel death in "Lord of the Flies." Listen to them sing "Judex crederis esse venturus." (We believe that thou shalt come to be our Judge) in the final mov't. Very impressive and effective coloring, which went by my ears unnoticed in the Keene.

The Virgin/Nelson performance is unique in that it includes some optional music not available on other recordings, as far as I know; though the final "March for the presentation of the colors, with its 12 harps-coming after the "standard finale"-is a little bit too much, even for me.

Berlioz Te Deum.......2001-05-15

It is impossible to rate this CD. Berlioz is the composer, not the conductor!! Which orchestra? Who is the conductor? Which choral group? Who are the singers? We need more information!!

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