The Give Away Box [EP] [Import]

The Give Away Box [EP] [Import]

Track Listings

1. Sticky Dirty Box

2. Years After Years

3. Dark Liquid - Clip Payne, Doctor L

4. What I'm Sayin'

5. Resistance in the Box [Flower Mix]

6. Strange Shit Happens [Mr Oizo Mix]

7. Bouncing to Chaos With the Cactus Hunters [Niktub and Dl Mix]

Tracks:

Act I.: Prld - Barry Tuckwell
Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: He Storms Away! - Gregory Dempsey
Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

Tracks:

Act I., Scene 3: Accursed Light! - Gregory Dempsey
Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
Act II.: Prld - Barry Tuckwell
Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

Tracks:

Act II., Scene 2: Could I But Know - Alberto Remedios
Act II., Scene 2: See My Mother - Alberto Remedios
Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
Act III.: Prld - Barry Tuckwell
Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

Tracks:

Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
Act III., Scene 3: Here in The Sunlight - Alberto Remedios
Act III., Scene 3: Come, My Sword! - Alberto Remedios
Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

Customer Reviews:

Goodall's Siegfried.......2007-06-22

This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

"Do you know what Wotan wills?".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Slow and steady wins the race.......2007-02-07

Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

Better than you might think...........2002-03-17

I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.

Average customer rating:

Excellent performer
A unique project
Gershwin historical, manic, perfect, archival
Definative

Authentic George Gershwin, Vol. 1-4

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Jazz | Styles | Music

Swing General | Swing Jazz | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B0001Z2RSC
Release Date: 2004-08-24

Tracks:

Swanee
Come To the Moon
I Was So Young (You Were So Beautiful)
Tee-Oodle-Um-bum-Bo
Nobody But You
Limehouse Nights
Drifting Along With The Tide
Rhapsody In Blue
Oh Lady Be Good!
Fascinating Rhythm
Hang On To Me
I'd Rather Charleston
The Man I Love
The Half Of It, Dearie, Blues
So Am I
Kickin' The Clouds Away
Concerto In F

Tracks:

Sweet And Low-Down (I)
That Certain Feeling (I)
Looking For A Boy
When Do We Dance?
Sweet And Low-Down (II)
That Certain Feeling (II)
Irish Waltz
Do, Do, Do
Someone To Watch Over Me
Clap Yo' Hands
Maybe
Three Preludes: I. No.1: Allegro Ben Ritmato E Deciso / II. No.2: Andante Con Moto / III No.3: Allegro Ben Ritmato E Deciso
Meadow Serenade
My One And Only
'S Wonderful/Funny Face
He Loves And She Loves
An American In Paris
Liza
Strike Up The Band
Embraceable You
I Got Rhythm (I)
I Got Rhythm (II)

Tracks:

Of Thee I Sing
Jilted
Second Rhapsody
For You, For Me, For Evermore
Cuban Overture
Isn't It A Pity?
Variations On 'I Got Rhythm'
I. Catfish Row: Introduction - Jazzbo Brown - First Chorus, 'Summertime'
II. Porgy Sings: 'I got Plenty O' Nuthin' - 'Bess, You Is My Woman Now'
III. Fugue: Murder Of Crown, Act III Scene 1
IV. Hurricane: Introduction, Act II Scene 3 - Hurricane, Act II Scene 3
V. Good Morning, Brother: Occupational Humoresque, Act III Scene 3 - 'Good Morning, Brother' - Children's Song 'Sure To Go To Heaven' - 'I'm On My Way' (Finale)
They Can't Take That Away From Me
Let's Call The Whole Thing Off
Our Love Is Here To Stay

Tracks:

Girl Crazy Overture
French Ballet Class
Dance Of The Waves
Slap That Bass
Walking The Dog
I've Got Beginner's Luck
They All Laughed
They Can't Take That Away From Me
Shall We Dance
By Strauss
I Can't Be Bothered Now
The Jolly Tar And The Milkmaid (1st Version)
Put Me To The Test
The Jolly Tar And The Milkmaid (2nd Version)
Stiff Upper Lip
A Foggy day (In London Town)
Nice Work If You Can Get It
Things Are Looking Up
I Was Doing All Right
Love Walked In

Customer Reviews:

Excellent performer.......2007-03-09

This plates are wonderful. I was charmed, and when I close my eyes now, I see scenes with American in Paris or Porgy and Bess but my favorite piece of music is Rhapsody in Blue. It's more than excellent is fantastic. Jack Gibbons perfectly feels the unique tone Gershwin's music, the mixture rythms of jazz with influences of impressionists and clear and beauty melodies.
I'm fascinating.

A unique project.......2006-11-23

Gibbons' undertaking is unique: to reconstruct and then execute and record the note-for-note playing of Gershwin as documented on the composers' piano rolls, sound recordings and certain published arrangements. I agree with the reviewer who points out that the result is like a library and not a recital you sit back and listen to (or get up and dance to). In fact Gibbons does some editing of his "library" now and then, and clearly documents it in his liner notes: in some reconstructions he augments accompaniment effects and even the melodic line itself. I don't mind that at all, especially as Gibbons scrupulously accounts for such tampering in his liner notes; but it seems to me that it is in this area of "tampering" that Gibbons the artist is asserting himself...which of course undermines the "library", the "historical archive": you have to search and read a bit to find out when you're hearing only Gershwin and when you're hearing some added Gibbons. I don't mind; Gibbons is a remarkable artist in his own right, not merely an impeccable documentarian. For sheer generosity of production Gibbons' Gershwin must also be unique: 4 cd's, scholar-level liner notes (yes, you need a magnifying glass to read them), and rock-bottom bargain price.

Gershwin historical, manic, perfect, archival.......2006-06-12

First: this is 4 high-end produced cd's (in low-end jewel cases) for the price of 2. The liner notes of all 4 cd's are condensed in a booklet of microscopic print, so you may need to spend the savings on a magnifying glass. MONEY WELL SPENT.
Second: Jack Gibbons plays (and has recorded) the Alkan op 39 etudes (he probably plays a lot more Alkan than that). For those of you not in the know, this is to say he has world-class chops, indeed history-class (Liszt, who never played his friend Alkan, at least in public). But it's also to say that Gibbons knows how to interpret and personalize fantastically difficult piano music. For me, his Alkan op 39 is personal and passionate and real (contrast the facile and over-pedalled Hamelin and the just-the-notes-ma'me Ringeissen). An appreciation of Gibbons' Alkan is important here because while his Alkan is uniquely personal (as such music must be, no matter how hard it is to play) his Gershwin is deliberately impersonal...which is to say: no pianist, no singer would want to reproduce what Gibbons has given us in these 4 cd's, and in fact few listeners will be able to listen for long to these 4 cd's without a respite, a break , some silence, some minimal styling from somebody (anybody) else...which brings me to
Third: This is an archive, not a recital. This is a library, not a program. There is no track-by-track contrast of moods here, no track-by-track concession to easy listening, varied delight, any more than a library shelf of novels is alphabetized by authors' last names as a concession to mood or fancy or taste of the searching patron. This is the documented Gershwin in his recording mode: manic, notey, clever, "on", and never, as generations of stylists found in him, ravishing, tender, longing, sweet, glad, hopeful...person-to-person, in a word. I can listen to these cd's about half an hour at a time, max. This is Gerwhsin, not Gibbons. And this is just one side of Gershwin. He died at 38, in the summer. Brain tumor. A lot of pain.
Finally, Jack Gibbons has given the world a uniquely valuable and easily available resource. Gibbons could now do us a service by playing us some Gershwin as he feels it, as it hits him and makes him sing (as Gershwin, our American Schubert, does to all of us, and as I think Alkan has done to Gibbons). I would love to see a Gershwin stylings by Gibbons now that Gibbons himself has made sure Gershwin in his authenticity is safe and sound.

Definative.......2005-07-23

Here's the whole Gershwin catalog at a great price... Five plus hours of bliss. Definately five stars!

Gibbons, according to a family friend and biographer Edward jablonski "recreates Gershwin's style." I'll never know. I can say this is a lively recording and has the perfect balance. It's neither stuffy and plodding or cute.

Average customer rating:

Fine reissue of a classic set

Purcell: Theatre Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Odes | Vocal Non-Opera | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
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Lute Music, Vol. 2

ASIN: B0001Y4JHA
Release Date: 2004-10-12

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

Average customer rating:

Collection: Say It With Music (Dlx)
Andr Kostelanetz
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

General | Soundtracks | Styles | Music

General | Easy Listening | Pop | Styles | Music

Easy Listening | Pop | Indie Music | Stores | Music
ASIN: B00007L8X4
Release Date: 2003-02-18

Tracks:

Say It With Music Remember Blue Skies
Top Hat White Tie And Tails How Deep Is The Ocean (How High
This Is The Army Oh How I Hate To Get Up In The Morning Soft
Whatll I Do Always The Song Is Ended (But The Melody Lingers
The Piccolino Cheek To Cheek
White Christmas
The Girl That I Marry Say It Isnt So Mandy
Give Me Your Tired Your Poor God Bless America
Smoke Gets In Your Eyes Yesterdays
Ive Told Every Little Star The Song Is You
The Night Was Made For Love She Didnt Say Yes All The Things
Look For The Silver Lining They Didnt Believe Me Long Ago (A
I Dream Too Much The Jockey On The Carrousel
Why Was I Born The Way You Look Tonight Who
Make Believe Bill
Why Do I Love You You Are Love Ol Man River
Fascinatin Rhythm
Mine
The Man I Love
Embraceable You Soon
I Got Rhythm
Bess Oh Wheres My Bess
S Wonderful
Maybe
Someone To Watch Over Me Oh Lady Be Good
Embraceable You
Strike Up The Band
Begin The Beguine
All Through The Night
I Concentrate On You
I Love You
Night And Day
In The Still Of The Night
Ive Got You Under My Skin
Blow Gabriel Blow
Just One Of Those Things (Bonus Track)
Hallelujah Time On My Hands
Tea For Two
Carioca
Without A Song
More Than You Know
Orchids In The Moonlight
Sometimes Im Happy I Know That You Know
Through The Years Drums In My Heart
Malaguena
La Cumparsita
Mexicana Medley
Yours (Quiereme Mucho)
Siboney
Caminito
Adios
No Taboleiro De Bahiana
The Moon Of Manakoora
Lotus Land
Kashmiri Song
Jamaican Rhumba
Flamingo
Poinciana (Song Of The Tree)
Andalucia
Sweet Leilani (Bonus Track)
Frenesi (Cancion Tropical) (Bonus Track)
Show Boat
South Pacific
Slaughter On Tenth Avenue
An American In Paris
Porgy And Bess

Album Description

The multi-faceted Andre Kostelanetz left his mark on the music world as an acclaimed conductor/arranger/accompanist. His most notable contribution is the creation of the Easy Listening genre, done by bridging the gap between Classical and Pop music. Highlights on this 6 CD box set include Irving Berlin's 'Cheek To Cheek', George Gershwin's 'The Man I Love' and Jerome Kern's 'Smoke Gets In Your Eyes'. Includes 3 bonus tracks 'Just One Of Those Things' (Cole Porter), 'Sweet Leilani' (from Waikiki Wedding) & 'Frenesi' (Cancion Tropical). Standard jewel cases housed in a deluxe wooden box w/hinged lid (approx. 6 x 5''). Collectables. 2003.

Average customer rating:

The Give Away Box
Doctor L
Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

House | Dance & DJ | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music

Dance & DJ | Imports | Stores | Music

Rock | Imports | Stores | Music
ASIN: B00004VT6N
Release Date: 2000-11-21

Tracks:

Sticky Dirty Box
Years After Years
Dark Liquid - Clip Payne, Doctor L
What I'm Sayin'
Resistance in the Box [Flower Mix]
Strange Shit Happens [Mr Oizo Mix]
Bouncing to Chaos With the Cactus Hunters [Niktub and Dl Mix]

John Langstaff Sings Archival Folk Collection

Average customer rating:

John Langstaff Sings Archival Folk Collection

Manufacturer: Revels Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

Traditional Folk | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

General | Vocal Pop | Pop | Styles | Music
ASIN: B00068CUQS
Release Date: 2004-11-02

Tracks:

O Waly, Waly/The Water Is Wide, I Cannot Get O'er
Carrion Crow
All 'Round My Had I Will Wear a Green Willow
Cruel Mother
Farmer's Curst Wife
Riddle Song/I Will Give My Love an Apple
Lord Rendal
Billy Boy
Croodin' Doo
John Barleycorn
Lover's Tasks
Green Wedding
She's Like the Swallow
John Riley

Tracks:

Bonnie Wee Thing
Pretty Sally
Two Brothers
Teh Deaf Woman's Courtship
At the Foot of Yonders Mountain
Rich Old Lady
There Was a Man in Our Town
Baby Bunting
When I Was a Little Boy
Rosey Boy, Posey Boy
Frog Went Courtin'
Dn Lover
Jockie to the Fair
Pretty Sally

Tracks:

False Knight Upon the Road
Little Turtle Dove
Seventeen Come Sunday
Sir Patrick Spens
Blow Away the Morning Dew
Trees They Do Grow High
Crawfish Man's Street City
She Moved Through the Fair
Golden Vanity
Rich Old Lady
Nottamun Town
John Barleycorn
Jolly Ploughboy
St. James Hospital
Brisk Young Widow
Six Dukes Went A-Fishing

Tracks:

Black Is the Color of My True Love's Hair
Bingo
I Wish I Was a Child Again
Hares on the Mountain
Two Magicians
Trees They Do Grow High
Lady Maisry
Edward
As I Walked Through the Meadows
Lark in the Morn
Gypsy Laddie
Go and Tell Aunt Nancy
Soldier, Soldier, Won't You Marry Me?
Cripple Creek Girls
Tottenham Toad
Frog in the Well
Dance to Your Daddy
As I Was Going to Banbury
Swapping Song
Dashing Away With the Smoothing Iron
O My Love, Will You Wear Red?
Frog and the Mouse
Cocky Robin
What'll We Do With the Baby?
Mocking Bird (Hush Up, Baby)
Bye, Bye Baby
Tiny Man
Weekdays and Sundays
Oh Jacky, Stand Still
Turn Round, Turn Round
Basket Full of Nuts
Our Baby Prince
All the Ducks
Polly Perkin
Follow the Leader
Poor Doggie
Baby's Song

Album Description

John Langstaff, now 83 years of age, is the founder and director emeritus of Revels, the non-profit performing arts company that produces Revels Records as well as 'The Christmas Revels' annual winter solstice celebrations in 12 cities across the country. This is the complete collection of Langstaff's disc, featuring all four acclaimed previously re-released CDs originally recorded in England. The recordings have been digitally re-mastered at London's famed Abbey Road Studios. Included are many traditional British and American folk songs and ballads, most with simple, art song settings. Legendary pianists Sir Gerald Moore, Sam Mason and John Powell, as well as guitarist Martin Best, are featured.

Julian Bream Edition, Volume 1: The Golden Age of English Lute Music

Average customer rating:

Too beautiful for words
Guitar History
Best deal there is!
Most excellent
Julian Bream, The Genius

Julian Bream Edition, Volume 1: The Golden Age of English Lute Music

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Pavanes | Ballets & Dances | Classical | Styles | Music

Duets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Solo Instrumental | New Age | Styles | Music

Classical | Box Sets | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B000003FFV
Release Date: 1993-08-10

Tracks:

Two Almaines
Fant
Walsingham
Mignarda
Almaine
Galliard
Greensleeves
Galliard Upon A Galliard Of Daniel Bachelar
Pavan
Carman's Whistle
Pavan
Monsieur's Almaine
Pavan
Batell Galliard
Galliard
Pavana Bray
Galliard
Pavan
My Lord Willoughby's Welcome Home
Captain Piper's Galliard
Queen Elizabeth's Galliard
Sir John Langton's Pavan
Tarleton's Ressurection
Lady Clifton's Spirit

Tracks:

Landgrave Of Hesse: Pavan
Saltarello
Ballo Detto Il Conte Orlando
Saltarello
Fant
Chromatic Pavan And Galliard: Pavan
Chromatic Pavan And Galliard: Galliard
Fant
Queen Elizabeth's Galliard
Fant
Fant
Finale
Villanella No.1
Villanella No.2
Finale 2
Pavan
Mein Herz Hat Sich Mit Lieb' Verpflicht
Hie' Folget Ein Welscher Tanz
Ich Klag' Den Tag
Der Juden Tanz
Fant
Air De Cour
Branle
Guillemette
Volte
Forlorn Hope Fancy
My Lord Willoughby's Welcome Home (For Two Lts)

Tracks:

The Earl Of Essex Galliard
Lachrimae Antiquae
Galliard To Lachrimae
My Lady Hunsdon's Puffe
Lord De L'Isle's Galliard
The Frog Galliard
Lachrimae Verae
The Shoemaker's Wife
Lady Rich, Her Galliard
Unnamed Piece (Almaine)
Sir John Smith's Almaine
Melancholy Galliard
Sir Henry Gifford's Almaine
Dowland's First Galliard
Mrs Vaux's Gigge
The Earl Of Derby, His Galliard
Semper Dowland, Semper Dolens
Captain Digorie Piper's Galliard
My Lord Chamberlain, His Galliard
Mr Langton's Galliard
Sir John Souche's Galliard
Piper's Pavan
Resolution

Tracks:

The Woods So Wild
Fant I in c
Packington's Pound
Fant II in F
Walsingham
Fant III in g
The Fairy Round
Heigh Ho Holiday
Fant IV (La Campagna)
Go From My Window
Fant V in C
Greensleeves
Fant VI in F
Bonny Sweet Robin
Fant VII in F
Heart's Ease
Fant VIII in G
Loth To Depart
A Fancy
A Fancy
Farewell

Tracks:

Con in D, RV 93: Allegro Giusto - Juliam Bream
Con in D, RV 93: Largo - Juliam Bream
Con in D, RV 93: Allegro - Juliam Bream
Con in F: Allegro - Juliam Bream
Con in F: Adagio - Juliam Bream
Con in F: Tempo Di Menuetto - Juliam Bream
Con in B flat, Op.4 No.6: Allegro - Juliam Bream
Con in B flat, Op.4 No.6: Larghetto - Juliam Bream
Con in B flat, Op.4 No.6: Allegro Moderato - Juliam Bream
Con in G, RV 532: Allegro - Juliam Bream
Con in G, RV 532: Andante - Juliam Bream
Con in G, RV 532: Allegro - Juliam Bream
Son in C, RV 82: Allegro Non Molto - Julian Bream/George Malcom
Son in C, RV 82: Larghetto - Julian Bream/George Malcom
Son in C, RV 82: Allegro - Julian Bream/George Malcom
Son in g, RV 85: Andante Molto - Julian Bream/George Malcom
Son in g, RV 85: Larghetto - Julian Bream/George Malcom
Son in g, RV 85: Allegro - Julian Bream/George Malcom

Tracks:

Monsieur's Almaine - The Julian Bream Consort
Pavin - The Julian Bream Consort
My Lord Of Oxenford's Maske - The Julian Bream Consort
The Flatt Pavin - The Julian Bream Consort
The Bachelar's Delight - The Julian Bream Consort
Kemp's Jig - The Julian Bream Consort
Phillips Pavin - The Julian Bream Consort
O Mistress Mine - The Julian Bream Consort
Fant: La Rondinella - The Julian Bream Consort
Joyne Hands - The Julian Bream Consort
Lachrimae Pavin - The Julian Bream Consort
Fant - The Julian Bream Consort
De La Tromba Pavin - The Julian Bream Consort
It Fell On A Summer's Day - The Julian Bream Consort
Dowland's Adew - The Julian Bream Consort
The Frog Galliard - The Julian Bream Consort
La Rosignol - The Julian Bream Consort
Tarleton's Resurrection - The Julian Bream Consort
Galliard-Can She Excuse - The Julian Bream Consort
Gloriana-Courtly Dances: March - The Julian Bream Consort
Gloriana-Courtly Dances: Corante - The Julian Bream Consort
Gloriana-Courtly Dances: Pavan - The Julian Bream Consort
Gloriana-Courtly Dances: Morris Dance - The Julian Bream Consort
Gloriana-Courtly Dances: Galliard - The Julian Bream Consort
Gloriana-Courtly Dances: La Volta - The Julian Bream Consort
Gloriana-Courtly Dances: March (Finale) - The Julian Bream Consort
Con in D, RV 93: Allegro - The Julian Bream Consort
Con in D, RV 93: Largo - The Julian Bream Consort
Con in D, RV 93: Allegro - The Julian Bream Consort

Tracks:

Joyne Hands - The Julian Bream Consort
Phillips Pavin - The Julian Bream Consort
The Frog Galliard - The Julian Bream Consort
The Jew's Dance - The Julian Bream Consort
Fant - The Julian Bream Consort
The Bachelar's Delight - The Julian Bream Consort
The Sacred End Pavin And Galliard: Pavin - The Julian Bream Consort
The Sacred End Pavin And Galliard: Galliard - The Julian Bream Consort
De La Tromba Pavin - The Julian Bream Consort
Thirsis And Milla - The Julian Bream Consort
Alison's Knell - The Julian Bream Consort
Grimstock - The Julian Bream Consort
Go From My Window - The Julian Bream Consort
Go Nightly Cares - The Julian Bream Consort
Daniel's Almain - The Julian Bream Consort
In Nomine Pavin - The Julian Bream Consort
Come Again - The Julian Bream Consort
Lachrimae Pavin - The Julian Bream Consort
Can She Excuse - The Julian Bream Consort

Tracks:

Chor No.1 - Juilian Bream
Etude in e - Juilian Bream
Etude in c# - Juilian Bream
Prld in e - Juilian Bream
Schottische-Choro (From Ste Popolar Brasileira) - Juilian Bream
Madronos - Juilian Bream
Homenaje, Pour Le Tombeau De Debussy - Juilian Bream J
The Miller's Dance (From The Three-Cornered Hat) - Juilian Bream
Fandanguillo - Juilian Bream J
El Testament D'Amelia - Juilian Bream
Canarios - Juilian Bream
Son - Juilian Bream
En Los Trigales - Juilian Bream
Larghetto - Juilian Bream
Allegro, K.Anh.229 - Juilian Bream
Son in C, Op.15, Allegro - Juilian Bream
Rossiniana No.1, Op.119 - Juilian Bream

Tracks:

Pavanas
Galliardas
Passacalles
Canarios
Villano
Canario
Prld in d, BWV 999
Fugue in a, BWV 1000
Passacaille
Fant
Tombeau Sur La Mort De M. Comte De Logy
Ste in d: Prld
Ste in d: Allemande
Ste in d: Courante
Ste in d: Sarabande
Ste in d: Gavotte
Ste in d: Menuets I And II
Ste in d: Bourree
Ste in d: Gigue
Aria Con Var Detta La Frescobalda
Son in e, K.11
Son in e, K.87
Son in c#
Son in A

Tracks:

Grand Ov, Op.61
Grand Solo, Op.14: Intro
Grand Solo, Op.14: Allegro
Son in A: Allegro Moderato
Son in A: Andante Sostenuto
Son in A: Menuet-Scherzo
Son in A: Rondo (Allegretto)
Rossiniana No.3, Op.121
Son in C, Op.25: Andante Largo; Allegro Non Troppo
Son in C, Op.25: Andantino Grazioso
Son in C, Op.25: Minuetto & Trio/Allegro

Tracks:

Grand Son in A: Allegro Risoluto
Grand Son in A: Romanze
Grand Son in A: Andantino Variato
Son in G, Op.78, D.894, Menuetto
Song Without Words, Op.19, No.6 ('Venetian Boating Song')
Str Qt, Op.12: Conzanetta
Homenaje, Pour Le Tombeau De Debussy
Pavane Pour Une Infante Defunte
Ste Espanola, Op.47: Granada
Ste Espanola, Op.47: Leyenda (Asturias)
Lagrima (Prld)
Three Mazurkas: Adelita
Three Mazurkas: Mazurka in G
Three Mazurkas: Marieta

Tracks:

Sonatina, Op. 52, No.1: Allegretto
Sonatina, Op. 52, No.1: Lento
Sonatina, Op. 52, No.1: Rondo
Segovia, Op.29
El Polifemo De Oro (Four Fragments): Ben Adagio
El Polifemo De Oro (Four Fragments): Allegretto
El Polifemo De Oro (Four Fragments): Largo
El Polifemo De Oro (Four Fragments): Ritmico E Vivo
Quatre Pieces Breves: Prld
Quatre Pieces Breves: Air
Quatre Pieces Breves: Plainte
Quatre Pieces Breves: Comme Une Gigue
Drei Tentos (From 'Kammermusik'): 'Du Schones Bachlein' (Tranquilmente)
Drei Tentos (From 'Kammermusik'): 'Es Findet Das Aug' Oft' (Allegro Rubato)
Drei Tentos (From 'Kammermusik'): 'Sohn Laios' (Lento)
Elegy
Five Bagatelles: Allegro
Five Bagatelles: Lento/Tempo Di Valse
Five Bagatelles: Alla Cubana
Five Bagatelles: Sempre Espressivo
Five Bagatelles: Con Slancio
Theme And Vars, Op.77

Tracks:

Ste Compostellana: Prd
Ste Compostellana: Coral
Ste Compostellana: Cuna
Ste Compostellana: Recitativo
Ste Compostellana: Cancion
Ste Compostellana: Muneira
Tiento
Son: Allegretto
Son: Andante
Son: Allegro
Fant
Ste Populaire Bresilienne: Mazurka-Choro
Ste Populaire Bresilienne: Schottisch-Choro
Ste Populaire Bresilienne: Valse-Choro
Ste Populaire Bresilienne: Gavotte-Choro
Etude No.5 in C
Etude No.7 in E

Tracks:

Five Impromptus: Recitative
Five Impromptus: Agitato
Five Impromptus: Elegiaco
Five Impromptus: Con Fuoco
Five Impromptus: Arioso
Five Bagetelles: Allegro
Five Bagetelles: Lento
Five Bagetelles: Alla Cubana
Five Bagetelles: Sempre Espressivo
Five Bagetelles: Con Slancio
Hill Runes
Son No.1, Royal Winter Music: Gloucester (Majestically)
Son No.1, Royal Winter Music: Romeo And Juliet (Singing Slowly, With Tenderness)
Son No.1, Royal Winter Music: Ariel (Swiftly, Gently, Mysteriously)
Son No.1, Royal Winter Music: Ophelia (Slowly)
Son No.1, Royal Winter Music: Touchstone, Audrey And William (With Humor)
Son No.1, Royal Winter Music: Oberon (Majestically)

Tracks:

Gtr Con, Op.67: Allegro
Gtr Con, Op.67: Lento
Gtr Con, Op.67: Con Brio
Con: Lento E Rubato/Vivo
Con: Andante Lento
Con: Con Brio
Concierto De Aranjuez: Allegro Con Spirito
Concierto De Aranjuez: Adagio
Concierto De Aranjuez: Allegro Gentile

Tracks:

Gtr Qnt in e, G.451: Allegro Moderato
Gtr Qnt in e, G.451: Adagio
Gtr Qnt in e, G.451: Menuetto
Gtr Qnt in e, G.451: Allegretto
Gtr Qnt in D, G.448: Intro And Fandango - Julian Bream/George Malcolm
Qt in E, Op.2 No.2: Allegro
Qt in E, Op.2 No.2: Adagio
Qt in E, Op.2 No.2: Menuetteo E Trio
Qt in E, Op.2 No.2: Finale: Presto
Gtr Con in A, Op.30: Allegro Maestoso
Gtr Con in A, Op.30: Andantino Siciliano
Gtr Con in A, Op.30: Alla Polacca

Tracks:

My Lady Hundson's Puffe - Dame Peggy Ashcroft/Julian Bream
'If Music And Sweey Poetry Agree' (Sonnet From The Passionate Pilgrim) - Dame Peggy Ashcroft/Julian Bream
The King Of Denmark's Galliard - Dame Peggy Ashcroft/Julian Bream
Envoi To The Phoenix And The Turtle - Dame Peggy Ashcroft/Julian Bream
Mignarda - Dame Peggy Ashcroft/Julian Bream
'The Courser And The Genet' (From Venus And Adonis) - Dame Peggy Ashcroft/Julian Bream
Queen Elizabeth's Galliard - Dame Peggy Ashcroft/Julian Bream
Loth To Depart - Dame Peggy Ashcroft/Julian Bream
'She Looks Upon His Lips' (Death of Adaonis From Venus And Adonis) - Dame Peggy Ashcroft/Julian Bream
The Earl Of Derby's Galliard - Dame Peggy Ashcroft/Julian Bream
'Orpheous With His Lute' (From King Henry VIII, Act III, Scene 1) - Dame Peggy Ashcroft/Julian Bream
Lachrimae Pavin - Dame Peggy Ashcroft/Julian Bream
'Weary With Toil' (Sonnet No.27) - Dame Peggy Ashcroft/Julian Bream
'Is It Thy Will?' (Sonnet No.61) - Dame Peggy Ashcroft/Julian Bream
'O, Never Say That I Was False Of Heart' (Sonnet No.109) - Dame Peggy Ashcroft/Julian Bream
Tarleton's Resurrection - Dame Peggy Ashcroft/Julian Bream
'My Mother Had A Maid Call'd Barbara' (From Othello, Act IV, Scene 3) - Dame Peggy Ashcroft/Julian Bream
Tarleton's Resurrection - Dame Peggy Ashcroft/Julian Bream
'Come Away, Come Away, Death' (From Twelfth Night, Act II, Scene 4) - Dame Peggy Ashcroft/Julian Bream
A Fancy - Dame Peggy Ashcroft/Julian Bream
'Two Loves I Have' (Sonnet No.144) - Dame Peggy Ashcroft/Julian Bream
'The Expense Of Spirit' (Sonnet No.129) - Dame Peggy Ashcroft/Julian Bream
Melancholy Galliard - Dame Peggy Ashcroft/Julian Bream
'But She Hath Lost A Dearer Thing Than Life' (From The Rape Of Lucrece) - Dame Peggy Ashcroft/Julian Bream
'Ev'n In This Thought' (From The Rape Of Lucrece) - Dame Peggy Ashcroft/Julian Bream
Semper Dowland, Semper Dolens - Dame Peggy Ashcroft/Julian Bream
'What Potions Have I Drunk' (Sonnet No.119) - Dame Peggy Ashcroft/Julian Bream
'When To The Sessions' (Sonnet No.30) - Dame Peggy Ashcroft/Julian Bream
Orlando Sleepeth - Dame Peggy Ashcroft/Julian Bream
'Fear No More' (Dirge For Fidele From Cymbeline, Act IV, Scene 2) - Dame Peggy Ashcroft/Julian Bream

Tracks:

Songs From The Chinese, Op.58: The Big Chariot - Julian Bream/Sir Peter Pears
Songs From The Chinese, Op.58: The Old Lute - Julian Bream/Sir Peter Pears
Songs From The Chinese, Op.58: The Autumn Wind - Julian Bream/Sir Peter Pears
Songs From The Chinese, Op.58: The Herd-Boy - Julian Bream/Sir Peter Pears
Songs From The Chinese, Op.58: Depression - Julian Bream/Sir Peter Pears
Songs From The Chinese, Op.58: Dance Song - Julian Bream/Sir Peter Pears
Folk Song Arrangements: Master Kilby - Julian Bream/Sir Peter Pears
Folk Song Arrangements: The Shooting Of His Dear - Julian Bream/Sir Peter Pears
Folk Song Arrangements: Sailor-Boy - Julian Bream/Sir Peter Pears
Folk Song Arrangements: I Will Give My Love An Apple - Julian Bream/Sir Peter Pears
Folk Song Arrangements: The Soldier And The Sailor - Julian Bream/Sir Peter Pears
Gloriana: The Second Lt Song Of The Earl Of Essex - Julian Bream/Sir Peter Pears
Anon In Love: Fain Would I Change That Note - Julian Bream/Sir Peter Pears
Anon In Love: O Stay, Sweet Love - Julian Bream/Sir Peter Pears
Anon In Love: Lady, When I Behold The Roses - Julian Bream/Sir Peter Pears
Anon In Love: My Love In Her Attire - Julian Bream/Sir Peter Pears
Anon In Love: I Gave Her Cakes And I Gave Her Ale - Julian Bream/Sir Peter Pears
Anon In Love: To Couple Is A Custom - Julian Bream/Sir Peter Pears
Four French Folk Songs: Reveillez-Vous - Julian Bream/Sir Peter Pears
Four French Folk Songs: J'Ai Descendu - Julian Bream/Sir Peter Pears
Four French Folk Songs: Le Rossignol - Julian Bream/Sir Peter Pears
Four French Folk Songs: Marguerite, Elle Est Malade - Julian Bream/Sir Peter Pears
O Mistress Mine - Julian Bream/Sir Peter Pears
Nocturnal, Op.70 - Julian Bream/Sir Peter Pears

Tracks:

Absence - Julian Bream/Sir Peter Pears
What Then Is Love? - Julian Bream/Sir Peter Pears
I Saw My Lady Weep - Julian Bream/Sir Peter Pears
If She Forsake Me - Julian Bream/Sir Peter Pears
Dear, If You Change - Julian Bream/Sir Peter Pears
Come, Phyllis - Julian Bream/Sir Peter Pears
Stay, Time - Julian Bream/Sir Peter Pears
It Was A Lover And His Lass - Julian Bream/Sir Peter Pears
Weep You No More - Julian Bream/Sir Peter Pears
When Laura Smiles - Julian Bream/Sir Peter Pears
Fair, Sweet, Cruel - Julian Bream/Sir Peter Pears
Shall I Sue? - Julian Bream/Sir Peter Pears
Sweet, Stay Awhile - Julian Bream/Sir Peter Pears
Who Is It? - Julian Bream/Sir Peter Pears
Can She Excuse? - Julian Bream/Sir Peter Pears
Come, Heavy Sleep - Julian Bream/Sir Peter Pears
Wilt Thou Unkind, Thus Leave Me? - Julian Bream/Sir Peter Pears
Sorrow, Stay - Julian Bream/Sir Peter Pears
The Lowest Trees Have Tops - Julian Bream/Sir Peter Pears
Time's Eldest Son, Old Age - Julian Bream/Sir Peter Pears
In Darkness Let Me Dwell - Julian Bream/Sir Peter Pears
Say, Love, If Ever Thou Did'st Find - Julian Bream/Sir Peter Pears

Tracks:

Lt Ste No.1, BWV 996: Prld
Lt Ste No.1, BWV 996: Allemande
Lt Ste No.1, BWV 996: Courante
Lt Ste No.1, BWV 996: Sarabande
Lt Ste No.1, BWV 996: Bourree
Lt Ste No.1, BWV 996: Gigue
Lt Ste No.2, BWV 997: Prld
Lt Ste No.2, BWV 997: Fugue
Lt Ste No.2, BWV 997: Sarabande
Lt Ste No.2, BWV 997: Gigue
Trio Son No.1 in E flat, BWV 525: Allegro Moderato - Julian Bream/George Malcolm
Trio Son No.1 in E flat, BWV 525: Adagio - Julian Bream/George Malcolm
Trio Son No.1 in E flat, BWV 525: Allegro - Julian Bream/George Malcolm
Trio Son No.5 in C, BWV 529: Allegro - Julian Bream/George Malcolm
Trio Son No.5 in C, BWV 529: Largo - Julian Bream/George Malcolm
Trio Son No.5 in C, BWV 529: Allegro - Julian Bream/George Malcolm

Tracks:

Con: Allegro Preciso
Con: Andantino E Andante/Cadenza
Con: Allegretto Non Troppo
Five Prlds: No.1 in e: Andantino Espressivo
Five Prlds: No.5 in E: Andantino
Five Prlds:No.3 in a: Andante/Molto Adagio/Andante
Five Prlds: No.4 in e: Lento/Animato/Moderato/Lento
Five Prlds: No.2 in D: Poco Animato
Twelve Etudes: No.1: Allegro Non Troppo/Lento
Twelve Etudes: No.2: Allegro
Twelve Etudes: No.3: Allegro Moderato
Twelve Etudes: No.4: Poco Moderato/A Tempo/Grandioso
Twelve Etudes: No.5: Andantino
Twelve Etudes: No.6: Poco Allegro
Twelve Etudes: No.7: Tres Anime/Piu Mosso
Twelve Etudes: No.8: Moderato
Twelve Etudes: No.9: Tres Peu Anime
Twelve Etudes: No.10: Tres Anime/Vif/Un Peu Anime/Vif
Twelve Etudes: No.11: Lent/Anime
Twelve Etudes: No.12: Anime

Tracks:

Concierto De Aranjuez: Allegro Con Spirito
Concierto De Aranjuez: Adagio
Concierto De Aranjuez: Allegro Gentile
Gtr Con: Andantino; Allegretto
Gtr Con: Lento
Gtr Con: Allegro Con Brio
Gtr Con No.3, Con Elegiaco: Tranquillo
Gtr Con No.3, Con Elegiaco: Interlude
Gtr Con No.3, Con Elegiaco: Finale: Toccata

Tracks:

El Maestro: Pavana I
El Maestro: Pavana V
El Maestro: Pavana VI
El Maestro: Fant XII
El Maestro: Fant VIII
El Maestro: Fant IX
El Maestro: Tento I
El Maestro: Pavana IV
El Maestro: Fant XVI
Los Seys Libros Del Delphin De Musica: Book I: Fant V
Los Seys Libros Del Delphin De Musica: Book II: Fant V
Los Seys Libros Del Delphin De Musica: Book III: La Cancion Del Emperador
Los Seys Libros Del Delphin De Musica: Fant VI
Los Seys Libros Del Delphin De Musica: Book V: Arde Coracon Arde
Los Seys Libros Del Delphin De Musica: Book V: Ya Se Asiente El Rey Ramiro
Los Seys Libros Del Delphin De Musica: Book IV: O Gloriosa Domina (Seys Diferencias)
Los Seys Libros Del Delphin De Musica: Book VI: Conde Claros
Los Seys Libros Del Delphin De Musica: Book VI: Guardame Las Vacas
Los Seys Libros Del Delphin De Musica: Book VI: Tres Diferencias Por Otra Parte
Los Seys Libros Del Delphin De Musica: Book VI: Baxa De Contrapunto
Fant

Tracks:

Fant, Op.30: Intro: Lentemente
Fant, Op.30: Theme: Allegretto
Fant, Op.30: Vars 1 To 5
Fant, Op.7: Largo Non Tanto
Fant, Op.7: Theme: Andante
Fant, Op.7: Vars 1 To 7
Vars On A Theme By Mozart, Op.9: Intro: Andante Largo
Vars On A Theme By Mozart, Op.9: Theme: Andante Moderato
Vars On A Theme By Mozart, Op.9: Vars 1 To 5
Adagio, Op.2, No.1
Polonaise, Op.2, No.2
Intro And Rondo, Op.2, No.3: Andante/Allegro Moderato

Tracks:

Cuentos Para La Juventud: Dedicatoria
La Maja De Goya (Tonadilla)
Danza Espanola No.4 (Villanesca)
Valses Poeticos
Danza Espanola No.5
Mallorca, Op.202
Ste Espanola, Op.47: Cataluna
Ste Espanola, Op.47: Granada
Ste Espanola, Op.47: Sevilla
Ste Espanola, Op.47: Cadiz
Cantos De Espana, Op.232 No.4: Cordoba

Tracks:

Mazurka in G
Etude in A
Marieta
Capricho Arabe
Prld in a
Recuerdos De La Alhambra
Serenata
Tango Espagnol
Guajira
Popular Catalan Songs: The Night Of Christmas
Popular Catalan Songs: The Nightingale
Popular Catalan Songs: The Master
Popular Catalan Songs: The Girl At The Spinning Wheel
Popular Catalan Songs: Amelia's Will
Popular Catalan Songs: The Thief's Song
Popular Catalan Songs: Lament
Popular Catalan Songs: The Son Of The Virgin
Popular Catalan Songs: Riera's Heir
Fandanguillo, Op.36
Sevillana, Op.29
Homenaje A Tarrega, Op.69: Soleares
Homenaje A Tarrega, Op.69: Garrotin

Tracks:

Fant XIV
Fant XXII
La Cancion Del Emperador
Conde Claros
Fant X
Prld And Allegro
Gtr Qnt in D, G.448: Fandango
Grand Solo, Op.14: Fernando Sor
Rondo in a, Op.2 No.3

Customer Reviews:

Too beautiful for words.......2004-05-25

If Julian Bream's recordings were letters, his would all be hand written rather than typed.

Guitar History.......2004-02-15

Julian Bream not only plays the guitar, and the lute
(although purists and I suspect Bream himself would say rather unconventionally), but most of all, Bream plays MUSIC. This is very, very important. There are many fine guitarists around today, but I doubt any could match Bream's sheer musicality when these recordings were made.
This 28 CD box set is a lesson in music making, regardless of what instrument is being played. The recordings are the complete RCA Bream catalogue from 1959 to 1989. If you can find the complete box set or even any of the individual volumes, I suggest you make the purchase. (Shame on RCA and BMG for not keeping this box set and "all" the individual volumes in print.)
Some of the higlights of Breams remarkable talent are his
interpretations of Britten's "Nocturnal", Walton's "Five Bagatelles", the instrumental and vocal works (with tenor Peter Pears) of Dowland, the "first" complete guitar works of Villa-Lobos, a thorough history of the guitar in Spain from the Renaissance to the Present on period instruments, plus all the works that have become classical guitar standards by Bach, Sor, Giuliani, Albeniz, Rodrigo, plus the "new" standards by Brouwer, Arnold, Berkeley, Britten, Walton, etc.
Music making of this caliber is rare indeed. Buy it if you can find it. Good Luck !

Best deal there is!.......2002-05-06

If you can find this set buy it fast. There are not to many of these left out there. This has it all. Plus Julian Bream is the greatest guitarist of all time.

Most excellent.......2001-08-18

This a an wonderful collection of Julian Bream. He is the master of master . I always admire his talent as a genius of this centure.

Julian Bream, The Genius.......1999-01-09

Who don't want to have a wonderful classical guitar collection? Well, this pack consists in 28 CDs, more than 1.000 minutes of music, distribuited by different titles as Baroque Guitar, Spanish Guitar, etc. Some highlights are here, like Asturias, Fernando Sor variations on Mozart's Magic Flute, Paganini Grand Sonata, all Preludes and Etudes of Villa-Lobos, and, well, lots of really good things. Also, there are some cds Julian Bream plays Guitar with Orchestra, or with Harpsichords. Ah, he plays lute in some too. Unfortunately, there are 2 or 3 cds where a tenor sings and another which a woman says some poems, and those, in my opinion, are not very nice. So, it's a good collection, and if you can, buy it!!

Music:

Music

music

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