Since Then [Enhanced] [Import]

Since Then [Enhanced] [Import]

Track Listings
Disc: 1

1. Coração Tambot (Intro)

2. Venasque

3. Since Then

4. Bay of Plenty

5. Coração Tambot - Ian Pooley, Rosanna,

6. Balmes [Original Album Version]

7. Vision - Kirsty Hawkshaw, Ian Pooley

8. Spicy Snapper

9. Menino Brincadeira - Ian Pooley, Rosanna,

10. 900 Degrees

See all 12 tracks on this disc

Disc: 2

1. Balmes (A Better Life) [Single Edit] - Esthero, Ian Pooley

2. Balmes (A Better Life) [Pooley's New Vocal] - Esthero, Ian Pooley

3. Coração Tambot [Needs Remix]

4. Balmes (A Better Life) [Dub] - Esthero, Ian Pooley

Editorial Reviews
Product Description
Import limited special edition of the dance artist's 2000 release. Includes five bonus tracks. 'Balmes (A Better Life) Ft Esthero (Single Edit)', 'Balmes (A Better Life) Ft Esthero (Pooleys New Vocal)', '900 Degrees (Tom Moddletons Cosmos Deep Dub)', 'Caracao Tambor (Needs Remix)', & 'Balmes (A Better Life) Ft Esthero (CD-Rom Video)'.

Tracks:

First Booke Of Songes: I. Unquiet Thoughts
First Booke Of Songes: II. Who Ever Thinks Or Hopes Of Love
First Booke Of Songes: III. My Thoughts Are Wing'd With Hopes
First Booke Of Songes: IV. If My Complaints Could Passions Move
First Booke Of Songes: V. Can She Excuse My Wrongs
First Booke Of Songes: VI. Now, O Now, I Needs Must Part
First Booke Of Songes: VII. Dear, If You Change
First Booke Of Songes: VIII. Burst Fourth My Tears
First Booke Of Songes: IX. Go Crystal Tears
First Booke Of Songes: X. Think'st Thou Then By Thy Feigning
First Booke Of Songes: XI. Come Away, Come Sweet Love
First Booke Of Songes: XII. Rest Awhile, You Cruel Cares
First Booke Of Songes: XIII. Sleep, Wayward Thoughts
First Booke Of Songes: XIV. All Ye, Whom Love Or Fortune Hath Betray'd
First Booke Of Songes: XV. Wilt Thou Unkind Thus Reave Me
First Booke Of Songes: XVI. Would My Conceit
First Booke Of Songes: XVII. Come Again: Sweet Love Doth Now Invite
First Booke Of Songes: XVIII. His Golden Locks
First Booke Of Songes: XIX. Awake, Sweet Love
First Booke Of Songes: XX. Come, Heavy Sleep
First Booke Of Songes: XXI. Away With These Self-Loving Lads

Tracks:

Second Booke Of Songs: I. I Saw My Lady Weep
Second Booke Of Songs: II. Flow My Tears
Second Booke Of Songs: III. Sorrow, Stay
Second Booke Of Songs: IV. Die Not Before Thy Day
Second Booke Of Songs: V. Mourn, Mourn, Day Is With Darkness Fled
Second Booke Of Songs: VI. Time's Eldest Son
Second Booke Of Songs: VII. Then Sit Thee Down
Second Booke Of Songs: VIII. When Others Sing Venite
Second Booke Of Songs: IX. Praise Blindness Eyes
Second Booke Of Songs: X. O Sweet Woods
Second Booke Of Songs: XI. If Floods Of Tears
Second Booke Of Songs: XII. Fine Knacks For Ladies
Second Booke Of Songs: XIII. Now Cease My Wand'ring Eyes
Second Booke Of Songs: XIV. Come Ye Heavy States Of Night
Second Booke Of Songs: XV. White As Lilies Was Her Face
Second Booke Of Songs: XVI. Woeful Heart
Second Booke Of Songs: XVII. A Shepherd In A Shade
Second Booke Of Songs: XVIII. Faction That Ever Dwells
Second Booke Of Songs: XIX. Shall I Sue
Second Booke Of Songs: XX. Toss Not My Soul
Second Booke Of Songs: XXI. Clear Or Cloudy
Second Booke Of Songs: XXII. Humour Say What Mak'st Thou Here

Tracks:

Third Booke Of Songs 1603: I. Farewell, Too Fair
Third Booke Of Songs 1603: II. Time Stands Still
Third Booke Of Songs 1603: III. Behold A Wonder Here
Third Booke Of Songs 1603: IV. Daphne Was Not So Chaste
Third Booke Of Songs 1603: V. Me, Me, And None But Me
Third Booke Of Songs 1603: VI. When Phoebus First Did Daphne Love
Third Booke Of Songs 1603: VII. Say, Love, If Ever Thou Didst Find
Third Booke Of Songs 1603: VIII. Flow Not So Fast, Ye Fountains
Third Booke Of Songs 1603: IX. What If I Never Speed?
Third Booke Of Songs 1603: X. Love Stood Amazed
Third Booke Of Songs 1603: XI. Lend Your Ears To My Sorrow
Third Booke Of Songs 1603: XII. By A Fountain Where I Lay
Third Booke Of Songs 1603: XIII. O What Hath Overwrought
Third Booke Of Songs 1603: XIV. Farewell, Unkind
Third Booke Of Songs 1603: XV. Weep You No More, Sad Fountains
Third Booke Of Songs 1603: XVI. Fie On This Feigning!
Third Booke Of Songs 1603: XVII. I Must Complain
Third Booke Of Songs 1603: XVIII. It Was A Time When Silly Bees
Third Booke Of Songs 1603: XIX. The Lowest Trees Have Tops
Third Booke Of Songs 1603: XX. What Poor Astronomers Are They
Third Booke Of Songs 1603: XXI. Come When I Call

Tracks:

A Pilgrimes Solace: I. Disdain Me Still
A Pilgrimes Solace: II. Sweet Stay Awhile
A Pilgrimes Solace: III. To Ask For All Thy Love
A Pilgrimes Solace: IV. Love, Those Beams That Breed
A Pilgrimes Solace: V. Shall I Strive Wih Words To Move?
A Pilgrimes Solace: VI. Were Every Thought An Eye
A Pilgrimes Solace: VII. Stay, Time, Awhile Thy Flying
A Pilgrimes Solace: VIII. Tell Me, True Love
A Pilgrimes Solace: IX. Go Nightly Cares
A Pilgrimes Solace: X. From Silent Night
A Pilgrimes Solace: XI. Lasso vita mia
A Pilgrimes Solace: XII. In This Trembling Shadow Cast
A Pilgrimes Solace: XIII. If That A Sinner's Sights
A Pilgrimes Solace: XIV. Thou Mighty God
A Pilgrimes Solace: XV. When David's Life
A Pilgrimes Solace: XVI. When The Poor Cripple

Tracks:

A Pilgrimes Solace: XVII. Where Sin Sore Wounding
A Pilgrimes Solace: XVIII. My Heart And Tongue Were Twins
A Pilgrimes Solace: XIX. Up Merry Mates
A Pilgrimes Solace: XX. Welcome Black Night
A Pilgrimes Solace: XXI. Cease, Cease These False Sports
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Lachrimae Pavane
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can Shee
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana
Keyboard Transcriptions Of Dowland's Music By Other Musicians: The Frogge
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Frog's Galliard
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavana And Galiarda
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana Lachrymae
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can She Excuse
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavion Solus cum sola
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Dowland's Almayne
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Piper's Paven And Galliard
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavan Lachrymae

Tracks:

Mr. Henry Noell Lamentations: I. The Lamentation Of A Sinner
Mr. Henry Noell Lamentations: II. Domine ne in furore
Mr. Henry Noell Lamentations: III. Miserere mei Deus
Mr. Henry Noell Lamentations: IV. The Humble Suit Of A Sinner
Mr. Henry Noell Lamentations: V. The Humble Complaint Of A Sinner
Mr. Henry Noell Lamentations: VI. De profundis
Mr. Henry Noell Lamentations: VII. Domine exaudi
Lachrimae: Lachrimae Antiquae
Lachrimae: Lachrimae Antiquae Novae
Lachrimae: Lachrimae Gementes
Lachrimae: Lachrimae Tristes
Lachrimae: Lachrimae Coactae
Lachrimae: Lachrimae Amantis
Lachrimae: Lachrimae Verae
Lachrimae: Mr. John Langton's Pavan
Lachrimae: Mr. Nicholas Gryffith His Galiard
Lachrimae: Sir John Souch His Galiard
Lachrimae: Semper Dowland Semper Dolens
Lachrimae: Mr. Giles Hobies Galiard
Lachrimae: The King Of Denmark's Galiard
Lachrimae: Sir Henry Umpton's Funerall
Lachrimae: Mr. Henry Noell His Galiard
Lachrimae: The Earl Of Essex Galiard
Lachrimae: Mr. Bucton His Galiard
Lachrimae: Mr. George Whitehead His Almand
Lachrimae: Captain Digorie Piper His Galiard
Lachrimae: Mr. Thomas Collier His Galiard
Lachrimae: Mrs. Nichols Almand

Tracks:

Sacred Songs: Sorrow, Come!
Sacred Songs: I Shame At Mine Unworthiness
Sacred Songs: An Heart That's Broken And Contrite
Psalms: Psalm 100: All People That On Earth Do Dwell
Psalms: Psalm 38: Put Me Not To Rebuke O Lord
Psalms: Psalm 130: Lord To Thee I Make My Moan
Psalms: Psalm 104: My Soul Praise The Lord
Psalms: Psalm 100: All People That On Earth Do Dwell
Psalms: Psalm 134: Behold And Have Regard
A Prayer For The Queen's Most Excellent Majesty
Instrumental Music: Solus cum sola pavan
Instrumental Music: Lachrimae
Instrumental Music: Galliard
Instrumental Music: Pipers Pavan
Instrumental Music: Lachrimae
Instrumental Music: Lady Rich Galliard
Instrumental Music: Earl Of Essex Galliard
Instrumental Music: If My Complaints
Instrumental Music: Lachrimae Doolande
Instrumental Music: Lord Willoughbie's Welcome Home
Instrumental Music: My Lord Chamberlaine His Galliard
Instrumental Music: Comagain
Instrumental Music: Pavan Lachrymae
Instrumental Music: Sorrow Stay

Tracks:

Lute Music: Preludium
Lute Music: Lachrimae
Lute Music: Can She Excuse
Lute Music: Dr. Case's Pavan
Lute Music: Melancholy Galliard
Lute Music: Sir John Smith, His Almain
Lute Music: Fantasia
Lute Music: A Dream
Lute Music: Almain
Lute Music: The Queen's Galliard
Lute Music: Coranto
Lute Music: Resolution
Lute Music: Mrs. Vaux Galliard
Lute Music: Almain
Lute Music: Mr. Dowland's MIdnight
Lute Music: Fantasia
Lute Music: Loth To Depart
Lute Music: The Most Sacred Queen Elizabeth, Her Galliard
Lute Music: The Earl Of Essex, His Galliard
Lute Music: Pavan
Lute Music: John Dowland's Galliard
Lute Music: Aloe
Lute Music: The Lady Clifton's Spirit
Lute Music: What If A Day
Lute Music: Mr. Giles Hobie's Galliard
Lute Music: Come Away (Song arrangement)
Lute Music: Galliard
Lute Music: Fancy (Fantasia)

Tracks:

Lute Music: Lachrimae (Basic Version)
Lute Music: Galliard To Lachrimae
Lute Music: [Jig]
Lute Music: Galliard On 'Wasingham'
Lute Music: Complaint (Ballad Setting)
Lute Music: Mignarda (Galliard)
Lute Music: Semper Dowland Semper Dolens (Pavan)
Lute Music: The Frog Galliard
Lute Music: A Fancy (Fantasia)
Lute Music: Fancy (Fantasia)
Lute Music: Piper's Pavan
Lute Music: Captain Digorie Piper's Galliard
Lute Music: Lady Laiton's Almain
Lute Music: Dowland's Galliard
Lute Music: Dowland's First Galliard
Lute Music: Tarleton's Jig
Lute Music: Walsingham (ballad Setting)
Lute Music: Lord Willoughbie's Welcome Home (Ballad Setting)
Lute Music: Sir Henry Guilforde, His Almain
Lute Music: Pavan (Related To 'Lachrimae')
Lute Music: Mr. Langton's Galliard
Lute Music: Mrs. Clifton's Almain
Lute Music: Galliard
Lute Music: Lady Hunsdon's Puffe (Almain)
Lute Music: Galliard
Lute Music: Go From My Window (Ballad Setting)
Lute Music: Fancy (Fantasia)

Tracks:

Lute Music: Pavana Johan Douland
Lute Music: Mrs. Brigide Fleetwood's Pavan (Solus sine sola)
Lute Music: La mia Barbara
Lute Music: Sir Henry Umpton's Funeral (Pavan)
Lute Music: Lachrimae
Lute Music: Farewell Fancy (Chromatic Fantasia)
Lute Music: Farewell (On The 'In Nomine' Theme)
Lute Music: The King of Denmark's Galliard
Lute Music: Mrs. Vaux's Jig
Lute Music: Mrs. Nichol's Almain
Lute Music: Galliard
Lute Music: Lord Strang's March
Lute Music: Mrs. Winter's Jump
Lute Music: Can She Excuse (Galliard)
Lute Music: The Shoemaker's Wife, A Toy
Lute Music: Mrs. Norrish's Delight
Lute Music: Galliard
Lute Music: Mrs. White's Thing (Almain)
Lute Music: Mrs. White's Nothing
Lute Music: The Frog Galliard
Lute Music: Solus cum sola
Lute Music: The Lord Viscount Lisle, His Galliard
Lute Music: Orlando Sleepeth (Ballad Setting)
Lute Music: Robin (Ballad Setting)
Lute Music: Galliard (On A Galliard By Daniel Bacheler)
Lute Music: Forlorn Hope Fancy (Chromatic Fantasia)

Tracks:

Lute Music: The Lady Russell's Pavan
Lute Music: Fancy (Fantasia)
Lute Music: Sir John Langton's Pavan
Lute Music: Earl Of Derby, His Galliard
Lute Music: A Coy Toy
Lute Music: Fortune My Foe
Lute Music: [Almain]
Lute Music: Mr. Knight's Galliard
Lute Music: Sir John Souch His Galliard
Lute Music: Tarletone's Riserrectione
Lute Music: The Lady Rich, Her Galliard
Consort Music: Lachrimae Pavan
Consort Music: Can She Excuse Galliard
Consort Music: Captain Piper's Pavan And Galliard
Consort Music: The Frog Galliard
Consort Music: Round Battell Galliard
Consort Music: Fortune My Foe
Consort Music: Dowland's First Galliard
Consort Music: Katherine Darcie's Galliard
Consort Music: Tarleton's Jigge
Consort Music: Almain a 2
Consort Music: Mistress Nichols Almain a 2
Fullsack And Hildebrandt: Auserlesener Paduanen und Galliarden: Susanna Fair (Galliard)
Haussmann: Rest von polnischen und andern Tanzen: Mistress Nichols Alman a 5
Opusculum: Mr. John Langton Pavan And Galliard
Opusculum: La mia Barbara Pavan and Galliard
Opusculum: Lachrimae Antiquae Novae Pavan and Galliard

Tracks:

Consort Music: Mistress NIchols Almain
Consort Music: Volta a 4 ('Ioh. Douland')
Consort Music: Were Every Thought an Eye
Consort Music: Lady If You So Spite Me
Consort Music: Pavan a 4
A Musicall Banquet: I. My Heavy Sprite (Anthony Holborne)
A Musicall Banquet: II. Change Thy Mind Since She Doth Change (Richard Martin)
A Musicall Banquet: III. O Eyes, Leave Off Your Weeping (Robert Hales)
A Musicall Banquet: IV. Go, My Flock, Go Get You Hence (Anon.)
A Musicall Banquet: V. O Dear Life, When Shall It Be? (Anon.)
A Musicall Banquet: VI. To Plead My Faith (Daniel Bacheler)
A Musicall Banquet: VII. In A Grove Most Rich Of Shade (Guillaume Tessier)
A Musicall Banquet: VIII. Far From Triumphing Court
A Musicall Banquet: IX. Lady, If You So Spite Me
A Musicall Banquet: X. In Darkness Let Me Dwell
A Musicall Banquet: XI. Si le parler et le silence (Pierre Guedron)
A Musicall Banquet: XII. Ce penser qui sans fin tirannise ma vie (Pierre Guedron)
A Musicall Banquet: XIII. Vous que le Bonheur rappelle (Pierre Guedron)
A Musicall Banquet: XIV. Passava Amor su arco desarmado (Anon. Spanish)
A Musicall Banquet: XV. Sta notte mi sognava (Anon. Italian)
A Musicall Banquet: XVI. Vuestros ojos tienen d'Amor (Anon. Spanish)
A Musicall Banquet: XVII. Se di farmi morire (Domenico Maria Megli)
A Musicall Banquet: XVIII. Dovro dunque morire? (Giulio Caccini)
A Musicall Banquet: XIX. Amarilli mia bella (Giulio Caccini)
A Musicall Banquet: XX. O bella piu (Anon, Italian)

Customer Reviews:

A musical treasure-box.......2006-09-10

Both the music and this actual product are masterpieces. John Dowland's collected works here - covering 12 compact discs - exhibit the depth and power of this composer, a composer who many now regard as suffering from clinical depression. I doubt that the issue of the diagnosis of Dowland's depression can ever be settled, however, it is certainly obvious from his music, so completely on display here, that he was a man with very dark depths and corners in his mind. Dowland's various manifestations and "takes" on his own tune, "Flow my tears"/"Lachrimae" are here. This tune has haunted me ever since I first heard it when I was a child. It seems to sum up Dowland's feelings - at least Dowland seems to have thought so.

The First, Second, Third and Fourth Bookes of Songes, A Musicall Banquet, the keyboard transcriptions, all the lute music, consort music are here and virtually everything else written or supposedly written by John Dowland. Anthony Rooley and The Consort of Musicke perform this music with style and feeling throughout. This 12 CD set is something of a monument to the ensemble - I only wish they'd finished their collection of Monteverdi madrigals, which was equally good (La Venexiana are currently doing a magnificent job of recording all Monteverdi's books of madrigals for the GLOSSA label).

This is an expensive set, however, you will probably never need to buy another John Dowland CD again after buying and listening to this collection.

I bought this CD set on a mild Summer evening of 1998 and listened to it while sitting in my sun room - which a glorious orange sunset in progress, and a glass of wine. It brought back so many memories.

a beautiful journey into melancholy.......2001-06-15

I'm amazed at how many people tend to associate John Dowland's music with a tragic sense of drama. While no doubt this is art highly based on sadness, the "tragic" sense of it is more a legacy from the Romantic period. During the Renaissance, however, sadness was undestood as a very aesthetic way of approaching life. That is also the reason why Shakespeare's tragedies appear more sophisticated than his comedies.

Tracks:

Messiah: Part I: Symphony
Messiah: Part I - No. 1 Accompagnato: Comfort Ye, Comfort Ye, My People
Messiah: Part I - No. 2: Air Ev'ry Valley Shall Be Exalted
Messiah: Part I - No. 3 Chorus: And The Glory Of The Lord
Messiah: Part I - No. 4 Accompagnato: Thus Saith The Lord
Messiah: Part I - No. 5 Air: But Who May Abide The Day Of His Coming
Messiah: Part I - No. 6 Chorus: And He Shall Purify The Sons Of Levi
Messiah: Part I - No. 7 Recitative: Behold, A Virgin Shall Conceive
Messiah: Part I - Nos. 8-9 Air And Chorus: O Thou That Tellest Good Tidings
Messiah: Part I - No. 10 Accompagnato: For Behold, Darkness Shall Cover The Earth
Messiah: Part I - No. 11 Air: The People That Walked In Darkness
Messiah: Part I No. 12 Chorus: For Unto Us A Child Is Born
Messiah: Part I No. 13 Pifa: Pastoral Symphony
Messiah: Part I No. 14 Recitative: There Were Shepherds - And Lo, The Angel Of The Lord - And The Angel Said Unto Them - And Suddenly There Was
Messiah: Part I No. 15 Chorus: Glory To God In The Highest
Messiah: Part I No. 16 Air: Rejoice Greatly, O Daughter Of Zion
Messiah: Part I No. 17a Recitative:Then Shall The Eyes Of The Blind
Messiah: Part I No. 18a Duet: He Shall Feed His Flock
Messiah: Part I No. 19 Chorus: His Yoke Is Easy
Messiah: Part II No. 20 Chorus: Behold The Lamb Of God
Messiah: Part II No. 21 Air: He Was Despised
Messiah: Part II No. 22 Chorus: Surely He Hath Borne Our Griefs
Messiah: Part II No. 23 Chorus: And With His Stripes We Are Healed
Messiah: Part II No. 24 Chorus: All We Like Sheep

Tracks:

Messiah: Part II No. 25 Accompagnato: All They That See Him
Messiah: Part II No. 26 Chorus: He Trusted In God
Messiah: Part II No. 27 Accompagnato: Thy Rebuke Hath Broken His Heart
Messiah: Part II No. 28 Arioso: Behold, And See
Messiah: Part II No. 29 Accompagnato: He Was Cut Off
Messiah: Part II No. 30 Aria: But Thou Didst Not Leave
Messiah: Part II No. 31 Chorus: Lift Up Your Heads
Messiah: Part II No. 32 Recitative: Unto Which Of The Angels
Messiah: Part II No. 33 Chorus: Let All The Angels Of God
Messiah: Part II No. 34a Air: Thou Art Gone Up On High
Messiah: Part II No. 35 Chorus The Lord Gave The Word
Messiah: Part II No. 36 Air: How Beautiful Are The Feet
Messiah: Part II No. 37a Arioso: Their Sound Is Gone Out
Messiah: Part II No. 38 Air: Why Do The Nations
Messiah: Part II No. 39 Chorus: Let Us Break Their Bonds Asunder Let us break their bonds asunder
Messiah: Part II No. 40 Recitative: He That Dwelleth In Heaven
Messiah: Part II No. 41 Air: Thou Shalt Break Them
Messiah: Part II No. 42 Chorus: Hallelujah
Messiah: Part III No. 43 Air: I Know That My Redeemer Liveth
Messiah: Part III No. 44 Chorus: Since By Man Came Death
Messiah: Part III No. Accompagnato: Behold, I Tell You A Mystery
Messiah: Part III No. 46 Air: The Trumpet Shall Sound
Messiah: Part III No. 47 Recitative: Then Shall Be Brought To Pass
Messiah: Part III No. 48 Duet: O Death, Where Is Thy Sting?
Messiah: Part III No. 49 Chorus: But Thanks Be To God
Messiah: Part III No. 50 Air: If God Be For Us
Messiah: Part III No. 51 Chorus: Worthy Is The Lamb - Blessing And Honour
Messiah: Part III: Amen

Customer Reviews:

a voice teacher and early music fan.......2006-10-21

The "Messiah" was composed by Handel at his London home in the late summer of 1741..Charles Jennens described his libretto for the 'Messiah' as a "Scripture Collection", because it consists of a cleverly-arranged selection of biblical texts. Musically speaking, the recitatives and arias are definately in a style derived from opera, supplemented by choruses of the type Handel has developed in his English odes and oratorios-the presentation of the story was unconventional. The work is divided into three acts or parts, but the narrative is largely confined to Part Two: Part One is mainly concerned with prophecy and its fullfilment and Part Three with commentary on the importance of the previous story. This recording of the famous 1992 performance at Dublin took place at the Point Theatre on the 250th anniversary of the work's premeire which took place in Dublin on April 13th 1742. It is an outstanding performance, especially chorally and instrumentally. The soloists: Sylvia McNair(soprano)-Anne Sofie von Otter(mezzo)-Michael Chance (alto) were superb!!! Personally I was not pleased by Jerry Hadley's interpretation of Handel; I have a recording of him singing show tunes, and I think he does that best! Robert Lloyd's (bass) diction was most peculiar and annoyed me. However, the last 2 comments may not be universally accepted. All in all, it's one of the best 'Messiahs' I have heard, and is actually my favorite of many that I own.

I really love this recording.......2005-03-26

While I haven't sampled that many different recordings of the Messiah, I really like this version. I sometimes find myself singing it, and this is the version I hear. One thing I don't like about it is that it is a 2-disc set, but the Messiah has three parts. Part II is divided -- the first half on disc 1 and the second part on disc 2. It would be nice if the parts weren't divided in the middle.

Some very good parts.......2002-12-14

This is my fifth Messiah disk and I had hoped my last. Von Otter is a real draw and she is truly great. Marriner's pacing is still good. But many aspects of this CD pull it down. I have a theory that the tenor (Jerry Hadley) was mad at Marriner and sang technically perfect with zero emotion. I don't how he was allowed to get away with this. I also did not like the baritone. While I think varying the size of the chorus in this piece has merit, this choir is generally on the small side and does not have the punch when needed. Messiah choirs carry a two edged burden, either the choir is large and it gets muddy in the delicate sections or it is small and can't punch the big sections. This disk errs on the small side. The recording quality is very good, something that dodges many Messiahs. The violins are too close to the soloist microphone (or poorly mixed) and come in much too loud. So whenever there is an sprite from the violins it jumps out at you and drowns the soloists.

The best Messiah for me is still Marriner's 1976 disk, much better overall rendition.

Great mezzo and trumpet.......2002-05-17

This is one of the better Messiahs, although not quite up to Westenberg's level.

Its world-beater aspects include mezzo Anne-Sophie von Otter, whose "He was despised" is well north of magnificent: Warmly mournful in the slow sections, snarling and spitting in the center section.

Trumpeter Mark Bennett does by far the best trumpeting on any of my 30 complete Messiahs. "Glory to God" and "Hallelujah" are as good as it gets -- no, better than any other recording gets.

Countertenor Michael Chance is quite good in "If God be for us" -- I say that as someone who doesn't like countertenors.

Some of the other choruses are also well done. But tenor Jerry Hadley seems to have thought he had more lucrative things to do with his time than to think about Messiah.

And He Shall Reign Forever and Ever, Amen........2002-01-01

This recording ranks itself on the top of the greatest recordings of Handel's Messiah. Being a live recording, it surpasses every other studio recordings of this piece in terms of interpretation and drama. The soloists are superb, the chorus are crisp and vital, and the ensemble plays with great virtuoso. My special remark goes to Miss McNair, I simply cannot grow tired of her! Her lyrical voice is simply destined for this work, especially in aria no 16 `Rejoice greatly, o daughter of Zion' - rejoice indeed! It is to Marriner we should all be grateful for producing this remarkable recording in the first place. Known mainly for his stupendous recordings of Mozart, it is not surprising that he's able to interpret in a true Handelian way. It's a pity that he seldom records works by Handel - I don't know if he performs them unrecorded.
There are actually two versions of this live performance, the one here and the other is available on LaserDisc. I believe that they were recorded on two different performance time, for on some arias the soloists have different style in singing the cadenza. Whichever you prefer, this is a recording you must simply own - even when your music library boasts a dozen or so of Handel's Messiah!!

Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock

Average customer rating:

Ladies & gentleman: The Lord'n Savior, God Almighty
So Fashionable, and So Disappointing
A nice combination of period nad tradiitonal
Wait! Before you buy...
La mas bella y fidedigna interpretacion que se pueda obtener

Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock
George Frideric Handel , Arleen Auger , Anne Sofie von Otter , Trevor Pinnock , The English Concert & Choir , Michael Chance , Howard Crook , and John Tomlinson
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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Bach: Brandenburg Concertos / Orchestra of the Age of Enlightenment
Handel - Messiah / Ameling · A. Reynolds · Langridge · Howell · Marriner
Belcea Quartet ~ Debussy · Dutilleux · Ravel
Beethoven: Symphony No 9 /ORR * Gardiner
Tchaikovsky: Symphony 6 "Pathétique" in B minor Op. 74

ASIN: B0000057DB
Release Date: 1990-10-25

Tracks:

Messiah: Part One - 1. Sinfony (Grave - Allegro moderato)
Messiah: Part One - 2. Accompagnato : Comfort Ye My People
Messiah: Part One - 3. Air : Ev'ry Valley Shall Be Exalted
Messiah: Part One - 4. Chorus : And The Glory Of The Lord Shall Be Revealed
Messiah: Part One - 5. Accompagnato : Thus Saith The Lord Of Hosts
Messiah: Part One - 6. Air : But Who May Abide The Day Of His Coming
Messiah: Part One - 7. Chorus : And He Shall Purify
Messiah: Part One - 8. Recitative : Behold, A Virgin Shall Conceive
Messiah: Part One - 9. Air and Chorus : O Thou That Tellest Good Tidings
Messiah: Part One - 10. Accompagnato : For Behold, Darkness Shall Cover
Messiah: Part One - 11. Air : The People That Walked In Darkness
Messiah: Part One - 12. Chorus : For Unto Us A Child Is Born
Messiah: Part One - 13. Pifa (Pastoral Symphony)
Messiah: Part One - 14. Recitative: There Were Shepherds Abiding In The Field - Accompagnato: And Lo, The Angel Of The Lord - 15. Recitative: And The Angel Said Unto Them - 16. Accompagnato: And Suddenly There Was With The Angel
Messiah: Part One - 17. Chorus : Glory To God In The Highest
Messiah: Part One - 18. Air : Rejoice Greatly, O Daughter Of Zion
Messiah: Part One - 19. Recitative : Then Shall The Eyes Of The Blind
Messiah: Part One - 20. Air : He Shall Feed His Flock
Messiah: Part One - 21. Chorus : His Yoke Is Easy, His Burthen Is Light
Messiah: Part Two - 22. Chorus : Behold The Lamb Of God
Messiah: Part Two - Air : 23. He Was Despised

Tracks:

Messiah: Part Two - 24. Chorus : Surely He Hath Borne Our Griefs
Messiah: Part Two - 25. Chorus : And With His Stripes We Are Healed
Messiah: Part Two - 26. Chorus : All We Like Sheep Have Gone Astray
Messiah: Part Two - 27. Accompagnato : All They That See Him
Messiah: Part Two - 28. Chorus : He Trusted In God
Messiah: Part Two - 29. Accompagnato : Thy Rebuke Hath Broken His Heart
Messiah: Part Two - 30. Arioso : Behold, And See If There Be Any Sorrow
Messiah: Part Two - 31. Accompagnato : He Was Cut Off Out Of The Land
Messiah: Part Two - 32. Air : But Thou Didst Not Leave His Soul
Messiah: Part Two - 33. Chorus : Lift Up Your Heads, O Ye Gates
Messiah: Part Two - 34. Recitative : Unto Which Of The Angels
Messiah: Part Two - 35. Chorus : Let All The Angels Of God Worship Him
Messiah: Part Two - 36. Air : Thou Art Gone Up On High
Messiah: Part Two - 37. Chorus : The Lord Gave The Word
Messiah: Part Two - 38. Air : How Beautiful Are The Feet
Messiah: Part Two - 39. Chorus : Their Sound Is Gone Out
Messiah: Part Two - 40. Air : Why Do The Nations So Furiously Rage
Messiah: Part Two - 41. Chorus : Let Us Break Their Bonds Asunder
Messiah: Part Two - 42. Recitative : He That Dwelleth In Heaven
Messiah: Part Two - 43. Air : Thou Shalt Break Them
Messiah: Part Two - 44. Chorus : Hallelujah
Messiah: Part Three - 45. Air : I Know That My Redeemer Liveth
Messiah: Part Three - 46. Chorus : Since By Man Came Death
Messiah: Part Three - 47. Recitative : Behold, I Tell You A Mystery
Messiah: Part Three - 48. Air : The Trumpet Shall Sound
Messiah: Part Three - 49. Recitative : Then Shall Be Brought To Pass
Messiah: Part Three - 50. Duet : O Death, Where Is Thy Sting?
Messiah: Part Three - 51. Chorus : But Thanks Be To God
Messiah: Part Three - 52. Air : If God Be For Us
Messiah: Part Three - 53. Chorus : Worthy Is The Lamb That Was Slain --- Amen

Amazon.com essential recording

This is a terrific performance of Messiah. Not only are the soloists all superb, but Trevor Pinnock completely contradicts the image of many period instrument performances as small-scale, scrappy affairs. Indeed, he invests the choruses with as much genuine Handelian pomp as Beecham at his most extravagant. The trumpets really blaze, and the timpani thunder, and everyone simply has a great time. A joyous performance, just right for the holiday season. --David Hurwitz

Amazon.com

Trevor Pinnock meets with mixed success in this account of the Messiah with the English Concert & Choir and soloists Arleen Auger, Anne Sofie von Otter, Michael Chance, Howard Crook, and John Tomlinson, recorded and released in 1988. Its strengths are the strengths of the early-music movement in general. The size and distribution of the instrumental and vocal forces are optimal, which means that textures are clear and balances apt. Rhythms are nicely pointed, though often, in Pinnock's case, not quite well enough sprung. Tempos are well chosen; for example, "All we like sheep"--which turns out to be one of the set's best numbers--is a real bourré, and Pinnock animates it in just the right way. But the performance often seems workmanlike and unemotional, weighed down in too many instances by the humdrum work of the chorus. The alto section in particular, which is half male and half female, sings timidly and is constantly swallowing its entrances. Bass soloist John Tomlinson is a further drag on the effort. He has the right idea--that there's an Italian opera hiding behind all this biblical imagery--but his cottony sound is out of place, a misguided attempt to mimic Nicolai Ghiaurov. His usable range is less than a tenth (he croaks the low G's and F-sharps), and his diction is horrible. "Thus spake the Lord" is strangled, and when, in "The trumpet shall sound" Tomlinson gets to the words "we shall be changed," one can't help wishing that he had been changed too, right before the sessions started. --Ted Libbey

Customer Reviews:

Ladies & gentleman: The Lord'n Savior, God Almighty.......2007-06-13

Handel's Messiah is my favorite piece of classical music. Of the two versions that I had I only have left this one, and it is not the best (the other had been a cheap recording whose author's name I forgot too). This version seems to lack a little enthusiasm from the voices; too melancholic. Anyway, this is the first review of any music that I write, and probably will be the last too, so I just want to leave my impression of how I feel when I hear these solemn and heavenly sounds. One feels so raised to the heavenlies... I can almost sense the presence of the Lord Almighty up yonder among the clouds, and me being carried in solemnity to meet Him. Far away are the buzzing sounds of earthly chores. The air is fresh and clean as we are raised above the valleys, and we come to meet God's elected amid the singing, stronger and stronger. Jubilant, bathed in the glorious rays of the Savior's Light, we come together and sing: Glory to God, glory to God, praise and glory for He is coming...

So Fashionable, and So Disappointing.......2007-02-01

This would be a great 21st Century Reader's Digest version of Messiah, if such a thing existed any more. Handel did as much as he could, but really, the performers still have to do something besides posture, which, by the way, seems to me to characterize many performances these days. Fashionable, but musically deficient.

Specifically: John Tomlinson sings like he thinks he IS God, instead of singing about Him. Heavy, cumbersome, and overblown. May I add boorish?

Arleen Auger has a very sweet voice. And??

Despite the program notes insisting that certain segments of this Messiah are given to "the contralto", Anne Sofie von Otter is NOT a contralto. Not even close.

The male alto can barely sustain a legato line - why he insists upon throwing in those complicated, badly-performed embellishments I can't figure. Well, I can, but I'd really rather not say.

Wake up, choristers!! It's 'For Unto Us A Child Is Born," not "Oy, I have to go to the grocery store today."

Boy do I regret having spent almost $40 on this one. Thank goodness I have the Colin Davis to console me.

A nice combination of period nad tradiitonal.......2006-12-17

This 1988 recording sits between the euqally English, euqally period-ifnluenced Hogwood and Garidner. Of the three, Hogwood sounds more 'authentic' because it uses boys in the chorus and singers schooled period practice. By comparison, Pinnock's soprano, Arleen Auger, and mozeeo, Von Otter, are essentially modern singers--gorgeous ones, of course, Gardiner is far more anemic in his conducting and uses a scrwny-sounding orchestra, so if that's more authentic, so be it. Of the three, Pinnock gives us more traditional music values in his emotional expression and instrumental timbres.

The competiiton is mushc stiffer now than in 1988, but Pinnock's reading has survived the test of time. He is not a genuinely inspired conductor--sadly, Messiah has become a cottage industry that excludes most big-name talents--but neither are Gardiner and Hogwood. (For sheer musicality, I tend to put my money on Andrew Parrott, Robert King, Marc Minkowski, Niklaus Harnoncourt, and Rene Jacobs.) But he's certainly good eough. The reason I haven't given five stars is that the male soloists aren't first-rate, and in particular the Wotan voice of John Tomlinson sounds cavernous in the bass arias. Add to that Pinnock's tendency toward tepidness, and what you end up with is a very good but not great performance.

Wait! Before you buy..........2006-05-28

... This Messiah has recently been re-released at a much cheaper price. Go back and look for the DG "The Originals" release, which is being sold new for under $12.

La mas bella y fidedigna interpretacion que se pueda obtener.......2004-12-29

Soy uno de los mas fanaticos seguidores de Handel y de su obra El Mesias... He escuchado muchas versiones de esta genial e impresionante obra del maestro Handel y, sencillamente no me queda mas que recomendar esta interpretacion, bajo la batuta del maestro Trevor Pinnock. Se nota la exigencia con que esta version se interpreto, dentro el contexto del arte barroco y la magnificencia de la pronunciacion del ingles de la epoca. La orquesta se luce impresionantemente desde la obertura... y le da a cada movimiento, toda aquella fuerza y a la vez delicadeza requerida en el sentimiento que aplica en cada uno de los textos biblicos escogidos por el guionista Jennens. El Coro del English Concert es arrebatador y demuestra maestria en la interpretacion de cada una de las arias que le corresponde. La soprano Arleen Auger, la puedo definir como un angel cantando y resulta ser una caricia a los oidos, a la vez que es capaz de arrancarle a uno las lagrimas por lo excelso de su magia interpretativa. El tenor Crook, aunque no es un tenor con tesitura para canto barroco, es realmente habil y agil al momento de interpretar los melismas caracteristicos de este brillante periodo musical. El contratenor Michael Chance, es fenomenal y quiera Dios que yo tenga el honor de conocer a este genio del canto: "But who may abide..." interpretado por Chance en esta version, es como para caer en extasis. La contralto Anne Sophie von Otter..., tiene una voz oscura y redondeada..., tambien resulta una caricia a los oidos y su "If God be for us..." es desbordante, capaz tambien de hacerle a uno derramar lagrimas por su belleza interpretativa. El bajo Tomlinson..., es barbaro!!! (Soy bajo-baritono en el Coro de la Orquesta Sinfonica Nacional de Costa Rica...) A pesar de su voz tan oscura, es tremendamente agil cuando le toca cantar los melismas y es genial al alcanzar la tonalidad brillante en las partes de notas altas y agudas...; por ejemplo: "The people that walked in darkness..." y "Why do the nations..." Tengo seis años de experiencia, interpretando musica coral y tengo que decir que espere esos seis años, desde 1999, para felizmente cantar esta obra "El Mesias". Ha sido fantastico finalmente lograr este objetivo..., la espera valio la pena y debo admitir que mi inspiracion ha sido sin duda alguna, la version que puede usted encontrar en este disco compacto. Doy gracias a todos los que intervinieron en esta grabacion (al maestro Trevor Pinnock, al English Concert and Choir y a los solistas ya mencionados), en nombre mio y en nombre del maestro Handel.

Average customer rating:

Finally a Messiah with fervor!
Great recording!
Good and Bad
This is a great recording!

Handel: Messiah

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Christmas at Trinity

ASIN: B00002R16A
Release Date: 1999-11-30

Tracks:

Messiah: No. 1 Overture
Messiah: No. 2 Arioso For Tenor
Messiah: No. 3 Air For Tenor
Messiah: No. 4 Chorus
Messiah: No. 5 Recitative For Bass
Messiah: No. 6 Air For Bass
Messiah: No. 7 Chorus
Messiah: No. 8 Recitative For Alto
Messiah: No. 9 Air For Alto And Chorus
Messiah: No. 10 Arioso For Bass
Messiah: No. 11 Air For Bass
Messiah: No. 12 Chorus
Messiah: No. 13 Pifa (Pastoral Symphony)
Messiah: No. 14a Recitative And No. 14b Arioso For Soprano
Messiah: No. 15 Recitative For Soprano
Messiah: No. 16 Arioso For Soprano
Messiah: No. 17 Chorus
Messiah: No. 18 Air For Soprano
Messiah: No. 19 Recitative For Alto
Messiah: No. 20 Air For Alto And Soprano
Messiah: No. 21 Chorus
Messiah: No. 22 Chorus
Messiah: No. 23 Air For Alto
Messiah: No. 24 Chorus
Messiah: No. 25 Chorus
Messiah: No. 26 Chorus

Tracks:

Messiah: No. 27 Arioso For Tenor
Messiah: No. 28 Chorus
Messiah: No. 29 Recitative For Tenor
Messiah: No. 30 Air For Tenor
Messiah: No. 31 Recitative For Tenor
Messiah: No. 32 Air For Tenor
Messiah: No. 33 Chorus
Messiah: No. 34 Recitative For Tenor
Messiah: No. 35 Chorus
Messiah: No. 36 Air For Alto
Messiah: No. 37 Chorus
Messiah: No. 38 Aria For Soprano
Messiah: No. 39 Chorus
Messiah: No. 40 Air For Bass
Messiah: No. 41 Chorus
Messiah: No. 42 Recitative For Tenor
Messiah: No. 43 Air For Tenor
Messiah: No. 44 Chorus
Messiah: No. 45 Air For Soprano
Messiah: No. 46 Chorus
Messiah: No. 47 Recitative For Bass
Messiah: No. 48 Air For Bass
Messiah: No. 49 Recitative For Alto
Messiah: No. 50 Duet For Alto And Tenor
Messiah: No. 51 Chorus
Messiah: No. 52 Air For Soprano
Messiah: No. 53 Chorus
Messiah: Amen

Customer Reviews:

Finally a Messiah with fervor!.......2005-10-20

I've hunted a thrilling performance of The Messiah through 240 versions so far. This is the best I've found. Some are self-conscious, dutifully singing as instructed. Some are almost childish in their lilt. Some are overblown with so much bombast that you can barely hear the heart of the music. Some are concentrated on faithfulness to the original instruments. If you want a performance that will make you shiver with the power and joy of the music, this is the one. The singers are singing about GLORY. They sound as if they are ecstatic. The musicians are at one with the music and they create a virtual cathedral wherever this CD is played, just close your eyes. Or, let your own imagery, be it celestial, or of great oceans...carry you away.

Great recording!.......2003-09-22

There are so many performances of the Messiah out there that it is very difficult to point to a difinative one, but I'd put this in the catagory of the "very good" ones. As other reviewers have said, every performance is different and has its own character. Each has stronger and weaker points. Here the conductor and musicians have made good, solid musical choices. There is an amazing attention to detail which is not so obvious the first listen through but which makes the piece shine. The tempos seem to be right on, and there is no frivolous over-embellishment by the soloists. There is no attempt to be showey. The dramatic dynamics in the first section of the overture are interesting, but seem to work after you hear it a few times. This performance also includes sections which are often omitted (Second half of "He shall feed his flock," "Thou art gone up on high," "Great was the company of the preachers," and "Death where is thy sting"). I prefer the more intimate quality of a small ensemble of musicians to the mega-performances by the London Philharmonic, Vienna State Opera Orchestra, etc.. As with this performance, the smaller group lends a clarity to the music, where the larger ensembles can get a little "muddy" at times. Just my personal preference. Overall, this is a very good performance, and certainly the low price (being on the Naxos lable) makes this a clear choice.

Good and Bad.......2000-04-09

I was more interested in "The Messiah" for the religious content than as a music critic, but this was too much. The strings are tinny. The orchestra is plodding. The soloists and choir are thankfully very good and seem to understand the meaning of the words. It is a shame the sound mix is uneven. The male parts come across loud and clear, but the poor women. For instance, No. 9 Oh thou that tellest..., the soloist sounded like she was singing in an echo chamber far from the mike. This is one of the most disappointing versions of "The Messiah" I have heard in a long time.

This is a great recording!.......2000-02-11

I was really surprised with the new that the Messiah's New World premiere was held at Trinity Church in October 1770, twenty-eight years after it was written. This fact only will make one proud in having this CD among his collection.

Anyhow, this is nothing more than a historic detail and would not count if this recording had not an outstanding first-rate ensemble of singers. Without doubt there is no definitive version of Messiah. Each one has its own distinctive touch and feeling and exploring it is always a pleasant journey through imagination.

Tracks:

Messiah: Overture - Royal Philharmonic Orchestra
Messiah: Recit: Comfort Ye, My People (Tenor) - Jon Vickers
Messiah: Air: Every Valley Shall Be Exalted (Tenor) - Jon Vickers
Messiah: Chorus: And The Glory Of The Lord - John McCarthy
Messiah: Recit: Thus Saith The Lord Of Hosts (Bass) - Giorgio Tozzi
Messiah: Air: But Who May Abide (Bass) - Giorgio Tozzi
Messiah: Chorus: And He Shall Purify - John McCarthy
Messiah: Recit: Behold, A Virgin Shall Conceive (Contralto) - Monica Sinclair
Messiah: Air & Chorus: O Thou That Tellest Good Tidings (Contralto) - John McCarthy
Messiah: Recit: For, Behold, Darkness Shall Cover (Bass) - Giorgio Tozzi
Messiah: Air: The People That Walked In Darkness (Bass) - Giorgio Tozzi
Messiah: Chorus: For Unto Us A Child Is Born - John McCarthy
Messiah: Pastoral Symphony - Royal Philharmonic Chorus
Messiah: Recit: There Were Shepherds Abiding (Soprano) - Jennifer Vyvyan
Messiah: Recit: And The Angel Said Unto Them (Soprano) - Jennifer Vyvyan
Messiah: Recit: And Suddenly There Was (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Glory To God In The Highest - John McCarthy
Messiah: Air: Rejoice Greatly, O Daughter (Soprano) - Jennifer Vyvyan
Messiah: Recit: Then Shall The Eyes (Contralto) - Monica Sinclair
Messiah: Air: He Shall Feed His Flock; Come Unto Him (Contralto & Soprano) - Monica Sinclair
Messiah: Chorus: His Yoke Is Easy - John McCarthy

Tracks:

Messiah: Chorus: Behold The Lamb Of God - John McCarthy
Messiah: Air: He Was Despised (Contralto) - Monica Sinclair
Messiah: Chorus: Surely He Hath Borne Our Griefs - John McCarthy
Messiah: Chorus: And With His Stripes We Are Healed - John McCarthy
Messiah: Chorus: All We Like Sheep Have Gone Astray - John McCarthy
Messiah: Recit: All They That See Him (Tenor) - Jon Vickers
Messiah: Chorus: He Trusted In God - John McCarthy
Messiah: Recit: Thy Rebuke Hath Broken His Heart (Tenor) - Jon Vickers
Messiah: Air: Behold, And See If There Be (Tenor) - Jon Vickers
Messiah: Recit: He Was Cut Off Out Of The Land (Tenor) - Jon Vickers
Messiah: Air: But Thou Didst Not Leave (Tenor) - Jon Vickers
Messiah: Chorus: Lift Up Your Heads - John McCarthy
Messiah: Air: How Beautiful Are The Feet (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Their Sound Is Gone Out Into All Lands - John McCarthy
Messiah: Air: Why Do The Nations So Furious Rage (Bass) - Giorgio Tozzi
Messiah: Chorus: Lets Us Break Their Bonds Asunder - John McCarthy
Messiah: Recit: He That Dwelleth In Heaven (Tenor) - Jon Vickers
Messiah: Air: Thou Shalt Break Them (Tenor) - Jon Vickers
Messiah: Chorus: Hallelujah! - John McCarthy
Messiah: Part III - Air: I Know That My Redeemer Liveth (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Since By Man Came Death - John McCarthy
Messiah: Recit: Behold, I Tell You A Mystery (Bass) - Giorgio Tozzi
Messiah: Air: The Trumpet Shall Sound (Bass) - Giorgio Tozzi
Messiah: Chorus: Worthy Is The Lamb - John McCarthy

Tracks:

Messiah: Recit: Unto Which Of The Angels (Tenor) - Jon Vickers
Messiah: Chorus: Let All The Angels Of God Worship Him - John McCarthy
Messiah: Air: Thou Art Gone Up On High (Bass) - Giorgio Tozzi
Messiah: Chorus: The Lord Gave The Word - John McCarthy
Messiah: Recit: Then Shall Be Brought To Pass (Contralto) - Monica Sinclair
Messiah: Duet: O Death, Where Is Thy Sting? (Contralto & Tenor) - Monica Sinclair
Messiah: Chorus: But Thanks Be To God - John McCarthy
Messiah: Air: If God Be For Us (Soprano) - Jennifer Vyvyan

Amazon.com essential recording

Sir Thomas Beecham's Messiah has become notorious among baroque purists (like this writer) for embodying the worst excesses of pre-1960 Handel performance: ponderous tempos, stentorian opera singers, huge lumbering choruses and orchestras, crashing cymbals, clanging triangles.... Well, we'll need a new straw man: this performance is WONDERFUL. Jon Vickers and Giorgio Tozzi negotiate Handel's writing surprisingly well; Jennifer Vyvyan takes to it naturally. The chorus and orchestra (yes, including trombones, tuba, triangle, and cymbals) may obscure the part-writing, but they fill the music with power, grandeur, and faith. If Mozart could re-orchestrate Messiah, why not Beecham? This may not be Handel's Messiah as such, it may even be a period piece itself--but it's magnificent. --Matthew Westphal

Customer Reviews:

Beecham's noisy Messiah.......2006-12-23

Here's the famous Messiah from Thomas Beecham and forces that uses crashing cymbals, enhanced timpani and brass to make it sound like a collusion between classical forces, a rock band and Canadian Brass. Listen to second CD excerpt from "Hallelujah!" for the opening cymbal crash to get an idea of what's going on.

This performance has been debated for 40 years as to whether it is musically adept, musically correct, an exemplar of the English choral tradition, or just a big old batch of fun at Handel's expense. I first owned this during a time when I also owned a recording Handel's "Royal Fireworks Music" featuring 40 woodwinds. The two made roughly an equal amount of noise.

There isn't much question this performance is completely out of step with the way Handel is performed in most venues today. Check out the wonderful Jon Vickers' highly operatic opening aria, "Comfort ye", then compare that to any leaned-out period group you've heard. You'll get another idea of the dimension of Beecham's project.

While not on the agenda of the Flat Earth Society, the only real interest in a performance like this -- especially having to endure it on three CDs when just about everyone else puts it on two -- is nostalgia or history, whichever happens to be the case for you.

My personal favorite version is in the 4-CD box of "Messiah" and "Israel In Egypt" where Andrew Parrott leads his Taverner Choir & Players and some of the best early music singers including Emma Kirkby, Emily van Evera, Margaret Cable, David Thomas, and Joseph Cornwall. HIs Messiah isn't perfect -- it uses a countertenor for a bass in one aria -- but it is more moderate than most PPP recordings and has a wonderful romantic edge to most of the score. It comes with a top notch recording of "Israel in Egypt" and still costs less than the Beehcham.

The Big Victorian Handel 'Messiah': Indulge Yourself!.......2006-12-16

We live in an era when purity of intent and respect for composers' works is at an all time high. Not only are we blessed with superb 'authentic' performances on period instruments and with small choruses and countertenors and state of the art bel canto singers for Handel's evergreen "Messiah", there are many superlative recordings that are as polished as any one work on current recordings. Supposedly we are hearing Messiah the way Handel envisioned it. Perhaps so, but who is to say that had Handel the resources available today he wouldn't have jumped for joy at the drama of the old British Choral Societies version that Sir Thomas Beecham conducts on this anything but dusty recording from many years ago. The 'Old School' had its good points.

Beecham goes all out with an orchestration, while attributed to Sir Eugene Goosens is also probably some of Beecham's own inimitable tinkering, that adds instruments not only in numbers but also in color and depth of sound. Winds double strings, percussion includes the full battery instead of just tympani, the big cello and viola sound stand equally with the big violin sound, etc. The chorus is huge, and while this allows the big dramatic moments to be intense, the fine diction Beecham demanded remains solidly intact.

The soloists are in an operatic class of their own. Jennifer Vyvyan and Monica Sinclair were major singers when this recording was made and their singing is big and well ornamented. Jon Vickers and Giorgio Tozzi bring Verdi into the room and he is a welcome visitor to Beecham's vision of this work.

For this listener, who prefers the 'correct, authentic' performance, this recording and others even older that celebrate the BIG Messiah are a delight. And that just proves that performance standards, no matter the interpretation of the conductor, are paramount: Beecham gives a solid, convincing interpretation to the operatic Messiah. It is lush, and huge, and absolutely wonderful to hear again! Grady Harp, December 06

Comfort Ye!.......2006-10-30

If your not familiar with "Messiah" don't let the reviews scare you - this is certainly a great choice for your first or only recording. There is a lot of feeling in the playing and singing, and i feel it is quite respectful not only of the composer, but the subject matter. It includes a booklet with all the lyrics, and an essay by Beecham himself about the piece. It is a complete recording, with a "bonus cd" of extra verses not usually performed (as explained in the essay). The audio quality is great for the time it was recorded. Its much more worthy to be listened to and contemplated than to be put on as backround music at Christmastime. The price is certainly reasonable in light of the quality of the performance.

Familiarity hasn't bred much affection.......2005-11-02

I first became acquainted with this recording at the tender age of 12 when I received the original Soria edition as a Christmas gift. I remember being intensely disappointed at what seemed to me then as more circus than music. Time has mellowed that negative reaction and gives a more balanced assessment of Beecham's achievement - I bought the CD reissue after all. It still doesn't inspire much affection in yours truly although I can appreciate the soloists' contributions, particularly Tozzi. The lamented Vyvyan was in better voice with Boult. Here she has a rapid vibrato and a curious way of articulating the high notes. The orchestrations seem to maintain more of the clarity of the writing by concentrating on the bass and the top without clogging up the middle voices in the manner of the Victorians. There are three pieces where it just doesn't work at all to these ears: the brassy "All we like sheep," "Hallelujah" (which summons visions of Fucik's 'Entry of the Gladiators' every time I hear it), and the disintegration of the obbligato trumpet into flute noodlings in "The trumpet shall sound," in a lightweight performance that is at odds with the grandeur of the text. I'll also admit that the splashy brilliance of "For unto us a Child is born" and the surging drama of "Surely, He hath borne our griefs" are very satisfying.

In the forty some recordings I own (and the many performances I've attended) there's no best and no definitive. This is one I respect but don't care to hear very often.

Thanks to Jon!.......2005-03-08

This recording is worth having first of all beacause of the credible singing of Jon Vickers! Yes, he really sings on the words. The "Comfort Ye" and "Every valley..." have a knew dimension after Jons reading of the score. Of course I know that in tradition we want a very much more lyrical voice to this masterpiece. But he's not alone here, and now we are already into the problem; the choir! It's just terrible, yes terrible!
I'm just ending up with "Thanks to Jon!"

Johann Strauss II: Die Fledermaus; The Gypsy Baron (Highlights)

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Die Fledermaus/Gypsy Baron CD

Johann Strauss II: Die Fledermaus; The Gypsy Baron (Highlights)

Manufacturer: Class. for Pleas. Us
ProductGroup: Music
Binding: Audio CD

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ASIN: B00009KHY5
Release Date: 2003-09-02

Tracks:

Overture - Alexander Young
It's The Talk Of The Town...I'll Be At The Ball Tonight - Alexander Young
Then I Must Leave...Ah, Woe Is Me - Alexander Young
Drain A Draught Of Wine With Me - Alexander Young
What A Feast - Alexander Young
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Brother Mine, Brother Mine And Sister Mine - Alexander Young
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Tracks:

Overture - Derek Hammond-Stroud
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A Suitor For The Bride...A Suitor For My Hand - Derek Hammond-Stroud
There's No One In The World (Gypsy Song) - Derek Hammond-Stroud
Here In This Dear Land - Derek Hammond-Stroud
The Trace Of Dawn - Derek Hammond-Stroud
I Dreamed I Wondered By The River - Derek Hammond-Stroud
Who Made Us One? - Derek Hammond-Stroud
Come And Join The Gay Hussars! - Derek Hammond-Stroud
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Tritsch-Tratsch Polka, Op. 214 - Johann Strauss II

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Die Fledermaus/Gypsy Baron CD.......2007-02-08

Die Fledermaus has long been a favourite of mine and this CD coupled with highlights from the Gypsy Baron makes it outstanding. I'm thoroughly enjoying listening to it. Judy

John Field: Complete Piano Music (Box Set)

Average customer rating:

John Field: Complete Piano Music (Box Set)

Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B000005ARF
Release Date: 1996-11-19

Tracks:

Sonata Op.1 No.1, E Flat Major: I - Allegro moderato
Sonata Op.1 No.1, E Flat Major: II - Rondo: Allegro
Sonata Op.1 No.2, A Major: I - Allegro vivace
Sonata Op.1 No.2, A Major: II - Allegro vivace
Sonata Op.1 No.3, C Minor: I - Non troppo allegro ma con fuoco e con espressione
Sonata Op.1 No.3, C Minor: II - Rondo: Allegretto scherzando
Sonata Op.1 No.4, B Major: I - Moderato cantabile
Sonata Op.1 No.4, B Major: II - Rondo: moderato

Tracks:

The Favorite Hornpipe Danced By Madame De Caro, Arranged As A Rondo - A Major
Go To The Devil And Shake Yourself, Arranged As A Rondo - G Major
The Two Slaves Dances In Black Beard, Arranged As A Rondo - G Major
Rondo Speed The Plough - B Major
Rondo From Concerto No. 1
Rondo From Concerto No. 2
Rondo From Concerto No. 3
Rondo
Rondo From Concerto No. 4
Rondo

Tracks:

Rondo From Piano Concerto No.5 - C Major
Rondo From Piano Concerto No.6 - C Major
Rondo Come Again, Come Again - E Major
Rondoletto - E Flat Major
Variations Fal Lal La - A Maior
Variations Since Then I'm Doom'd - C Major
Variations Logie Of Buchan - C Major
Variations Karaminskaya - B Flat Major
Variations Air du bon Roi Henry IV - A Minor
Variations Chanson russe vari- D Minor
Variations Within A Mile Of Edinboro Town - B Flat Major

Tracks:

Nocturne No. 1 - E Flat Major
Nocturne No. 2 - C Minor
Nocturne No. 3 - A Flat Major
Nocturne No. 4 - A Major
Nocturne No. 5 - B Flat Major
Nocturne No. 6 - F Major
Nocturne No. 7 - A Major
Nocturne No. 8 - E Flat Major
Nocturne No. 9 - E Minor
Nocturne No. 10 - E Major
Nocturne No. 11 - E Flat Major
Nocturne No. 12 - E Major
Nocturne No. 13 C Major
Nocturne No. 14 G Major
Nocturne No. 15 D Minor

Tracks:

Nocturne No. 16 - C Major
Nocturne No. 17 - C Major
Nocturne No. 18 - F Major
Nocturne No. 19 Le troubadour - C Major
Fantasia Guardami un poco dal capo al piede - A Major
Fantasia Ah! quel dommage - G Major
Fantasia We Met - G Major
Fantasia In The Garden - A Minor

Tracks:

Walzer - A Flat Major
Polonaise - E Flat Major
Marche tromphale
Prelude - C Minor
Largo - C Minor
Valse - G Major
Valse - A Major
Valse - A Major
Quadrille - F-Major
Quadrille - E Flat Major
Anglaise - E Flat Major
Exercise module dans tous les tons
Exercise No. 2 - C Major
Exercise - A Flat Major
Exercise - C Major
Poco adagio - From Piano Concerto No. 2 - E Flat Major
Andante inedite - E Flat Major
Rondeau - G Major
Air russe varie
Grande valse en forme de Rondeau
Andante - C Minor
Danse des ours

Average customer rating:

Great Release
Melodic Trance
Pretty smooth -- a good buy
Mediterranean House at its Best!

Since Then
Ian Pooley
Manufacturer: Phantom Sound & Vision
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

House | Dance & DJ | Styles | Music

Dance & DJ | Imports | Stores | Music
ASIN: B00004TL0B
Release Date: 2000-12-06

Tracks:

Coracao Tambor (Intro)
Venasque
Since Then
Bay of Plenty
Coracao Tambor - Ian Pooley, Rosanna, Zelia
Balmes
Visions - Kirsty Hawkshaw, , Ian Pooley
Menino Brincadeira - Ian Pooley, Rosanna, Zelia
900 Degrees
Sundowner
Cloud Patterns

Album Description

Third album for German house/techno artist. Includes the first single, 'Coracao Tambor' (feat. Rosanna & Zelia). Guests include Kirsty Hawkshaw (BT-Movement In Still Life'). 2000 release. Standard jewel case.

Album Details

House. Quality House Music Doesn't Get Much Better Than This, a Lush Melting Pot of Chilled Out Flavors, from Funky Deep House to Latin Infused Soulful Grooves.

Customer Reviews:

Great Release.......2006-02-09

Ian Pooley, a DJ out of Germany, has been around for quite a while now, really hitting the map with "Meridian" back in the late 90's. But it was this album, "Since Then", that came out in the height of the nu-Brasil movement that really stuck out in a sea of copy-cats and one-off artists. He really got into the sounds of Brasil I believe inthe mid-early 90's and that sound has been incorporated in pretty much anything he's released since then. He's mostl8y known for putting out some terrific house cuts.

"Since Then" starts out with a wavy introduction to "Coracao Tambor" (Heart beats like a drum), followed with "Venasque", a song loaded with cheeky samples, but is still rather fun. It was a mainstay on Emerson radio in Boston for a while. "Since Then" follos up with a slight bossa to intro the cut before kicking into a rather sweet flowing bass-filled track to the theme of "Coracao Tambor". "Bay of Plenty's" got a nice house beat it before the full edit of "Coracao Tambor", which features well known Brazilian artists Rosanna & Zelia, comes on. "Balmes" follows up next: that's a track loaded with guitar that glides along the dance-floor. Down the line, you've got Rosanna & Zelia again with another popular track off the album, "Menino Brincadeia" (joking boy..). It's an interesting song that's based off of a classic Joyce sample from years ago.. "Aldeia De Ogum" to be exact! There's plenty of other songs on here with a great vibe and beat - admittedly not all of the songs grabbed me but the general feel of the album is very positive.

I definitely liked this album. I was intrigued by it after hearing "Coracao Tambor" on Brazilectro vol 2 which came out at around the same time. Keep in mind that this is an album dedicated to a blend of Brazilian influences and house beats - in that way, Ian Pooley was right with the scene pioneering that particular sound. If you do like this, Ian Pooley put out another album in 2004 titled "Souvenirs". It really wasn't much of a surprise to see him put together the last Brazilution, "Brazilution 5.3", given that he had some singles on Brazilution 5.2 and his last album, like Brazilution, was released on Ministry of Sound Germany. You may also like Buscemi's "Camino Real" and "Our Girl in Havana", Raccoon's "Universal Vibe", and of course check out Brazilectro 1 & 2 and a few of the new Brazil albums from around this time.

Melodic Trance.......2001-10-02

I'm use to downloading albums; doing without the original. It takes a very special CD to give me the urge to buy it: Ian Pooley's Since Then accomplished this. A very melodic, relaxing trance CD, I feel as if I'm back in the Mediterranean every time I listen to it. Buy this CD, you won't regret it.

Pretty smooth -- a good buy.......2000-09-20

The album is great to listen to, smooth house, with a lot of Brazillian beat influence. Although, I don't know what happened to the song, Visions. It's pretty bad (in a negative way). Kirsty Hawkshaw should never attempt Bossanova imitation. Otherwise, the album is really good. If you ever had a chance to see Pooley live (Twilo, NYC in Sept), you might find this album a bit slow because you're not going to be bouncing up and down, dancing. Also consider Thievery Corporation the last album if you like this one, and vice versa.

Mediterranean House at its Best!.......2000-09-10

THE best house music CD there is, way cooler than Cassius or Daft Punk. every single song reflects pure joy and happiness! the whole CD sounds very fresh & summerly, an absolute must for every house/lounge - music fan. in recent times i cannot think of a CD that i could recommend more!

Average customer rating:

Fantastic
Great Album
Finally - A non-monotonous listen-through.
melt your mind
very repetitive at times

Since Then
Ian Pooley
Manufacturer: V2
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

House | Dance & DJ | Styles | Music

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ASIN: B00004YRFX
Release Date: 2000-10-10

Tracks:

Coracao Tambor (Intro)
Venasque
Since Then
Bay Of Plenty
Coracao Tambor
Balmes
Visions
Menino Brincadeira
900 Degrees
Sundowner
Cloud Patterns

Amazon.com

A lot of house albums run out of steam before they're half over, but that's not the case with Ian Pooley's pleasingly varied Since Then. In fact, the disc's first few tracks aren't house music at all. The opener, "Coracao Tambor (intro)," features driving Brazilian percussion, a throbbing keyboard, and lovely acoustic guitar flourishes, while "Venesque" is a slice of fun-filled funk. It's not until the fifth track, "Coracao Tambor," featuring Rosanna and Zelia on vocals, that the steady pulse of house, layered with Brazilian rhythms, kicks in. "Balmes" is propelled in part by an insistent finger-picked acoustic guitar pattern, while "Visions" sports a bright, sunny pop melody sung by Kirsty Hawkshaw. The CD closes on a dreamy note with "Cloud Pattern," whose acoustic piano parts hint at minimalism but are buoyed by distant drums. Since Then's range of material is well ordered and paced; rather than being just a collection of tracks, the disc is a cohesive dance album, and a fine one at that. --Fred Cisterna

Customer Reviews:

Fantastic.......2007-03-21

I have had this album for some years now, and it still sounds funky fresh! The sound of summer (and winther). Classic

Great Album.......2006-02-10

Ian Pooley, a DJ out of Germany, has been around for quite a while now, really hitting the map with "Meridian" back in the late 90's. But it was this album, "Since Then", that came out in the height of the nu-Brasil movement that really stuck out in a sea of copy-cats and one-off artists. He really got into the sounds of Brasil I believe inthe mid-early 90's and that sound has been incorporated in pretty much anything he's released since then. He's mostl8y known for putting out some terrific house cuts.

"Since Then" starts out with a wavy introduction to "Coracao Tambor" (Heart beats like a drum), followed with "Venasque", a song loaded with cheeky samples, but is still rather fun. It was a mainstay on Emerson radio in Boston for a while. "Since Then" follows up with a slight bossa intro to the cut before kicking into a rather sweet flowing bass-filled track to the theme of "Coracao Tambor". "Bay of Plenty's" got a nice house beat to it before the full edit of "Coracao Tambor", which features well known Brazilian artists Rosanna & Zelia, comes on. That was probably the most popular track from this release, but what strikes you straight away is the intro to the song, which lifts the intro to Marcos Valle's "Batucada" from many years ago. "Balmes" follows up next: that's a track loaded with guitar that glides along the dance-floor. Down the line, you've got Rosanna & Zelia again with another popular track off the album, "Menino Brincadeia" (joking boy..). It's an interesting song that's based off of a classic Joyce sample from years ago.. "Aldeia De Ogum" to be exact! There's plenty of other songs on here with a great vibe and beat - admittedly not all of the songs grabbed me but the general feel of the album is very positive.

I definitely liked this album. I was intrigued by it after hearing "Coracao Tambor" on Brazilectro vol 2 which came out at around the same time. Keep in mind that this is an album dedicated to a blend of Brazilian influences and house beats - in that way, Ian Pooley was right with the scene pioneering that particular sound. If you do like this, Ian Pooley put out another album in 2004 titled "Souvenirs", which follows in the mold of this one and features one of his idols, Marcos Valle on at least one of the tracks. It really wasn't much of a surprise to see him put together the last Brazilution, "Brazilution 5.3", given that he had some singles on Brazilution 5.2 and his last album, like Brazilution, was released on Ministry of Sound Germany. You may also like Buscemi's "Camino Real" and "Our Girl in Havana", Raccoon's "Universal Vibe", and of course check out Brazilectro 1 & 2 and a few of the new Brazil albums from around this time.

Finally - A non-monotonous listen-through. .......2006-01-20

The photo on the cover is the feeling you get. This is one of the very few, good listen-throughs. It's not monotonous and yet the range of styles blend well enough to establish a particular mood. Pooley samples old school on 900 Degrees... adds some Brasilian flair in other places... a good dosage of downtempo / chill-out... and enough house/dance for a Mediterranean evening wherever you may be. Worth it.

melt your mind.......2005-12-22

In what I believe to be the greatest work by the DJ, Ian Pooley pulls off a show that could have anyone dancing for hours on end at the nightclub to. His Brazillian style in his album is a newer and dancier version of bossa nova music. His theme of the Latin genre of music is a beautiful interpretation and is a great work of art.

Ian Pooley's captivating album will have you dancing like a teenager.

very repetitive at times.......2004-12-07

this cd is not 5 stars material as reviewers suggested, the music does get very repetitive at times and it even becomes boring if you just sit there and listen. tracks like Venasque,900 Degrees,Sundowner repeat almost the same line over and over.

however the positives just outweight the negatives as what saves the album are tracks like "Coracao Tambor" a nice brazilian dance tune "since then" a soothing chill peace same thing here with "cloud patterns" ,"Menino Brincadeira" a slow latin dance track with soothing vocals And the song "Balmes" which is soothing tropical dance tune, watch out for the vocal version of this song called "better life" its even better.

you may be familiar with some of these songs as they were used in fashion runaway shows as the repetitive music makes decent ambient but for the average listiner its not for everybody i suggest to listen before you buy.

Music:

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