Perhaps [CD-single] [Import]

Perhaps [CD-single] [Import]

Track Listings

1. Radio Mix

2. Almighty Edit

3. Step.Com Mix

4. Almighty 12" Mix

Perhaps,Sunray,Pias

Art of the Fugue - 70th Anniversary Edition
Average customer rating:

Gould's Most Errant Interpretation

THE VERY SOUL OF MUSIC

Worth getting for Contrapunctus XIV, but for full performance look elsewhere

The Best Bach Interpreter of the Century

Excellent Rendition of the Art of the Fugue

Art of the Fugue - 70th Anniversary Edition
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006FI8C
Release Date: 2002-09-03

Customer Reviews:

Gould's Most Errant Interpretation.......2007-02-13

Mr. Khekoyan, who reviews this disk below, is quite correct that it is errant in tempi and in percussive interpretation. I'm not in agreement with him about Glenn Gould's stature as the foremost interpreter of Bach of the century. I'd suggest listening to the performance of Menno van Delft, which is included in the Bach Edition complete works produced by Brilliant Classics. There are any number of people who might nominate Gustav Leonhardt, Trevor Pinnock, or Bob van Asperen as more insightful interpreters of Bach than Glenn Gould. Don't let Gould's curious cult status mislead you; his performances are more quirky than competent.
Or, if you are attracted to the Art of Fugue rather than the Artist, you might listen to the performance of the Amsterdam Loeki Stardust Quartet, also available on CD. Though there is no historical justification for playing Bach's harpsichord music on recorders, the LSQ makes fine and insightful music on their wooden flutes, large and small. At times they sound more organistic than Mr. Gould on his modern behemoth.

THE VERY SOUL OF MUSIC.......2006-09-08

What you will find on this disc is A) contrapunctus I-IX played on two different organs in 1962; B) contrapunctus I II & IV from a1981 TV broadcast; C) contrapunctus IX XI & XIII in mono from a radio broadcast in 1967; D) the unfinished contrapunctus XIV from what may or may not be the same TV broadcast as B); and as a final filler E) a prelude and fugue on the name BACH from a studio recording in 1980. Items B)-E) are given on the piano.

Gould's organ renderings ran into critical flak at the time, and whether for that reason or because organ-playing aggravated a shoulder condition that the maestro suffered from he never completed the project. The sound of the piano is a little below standard in C), with some background hiss and a slightly emaciated tone, but even it is not really bad, B) and D) are better, and E) better still sound-wise. The sound of the organs has been criticised, but I do not criticise it and indeed it suits me very well. Nothing in the sound-quality from start to finish interferes in any way with my appreciation of Gould's wonderful, visionary and unique Bach-playing.

This disc does not offer you the complete Art of Fugue, so anyone who wants what's here is going to want it for something special in the performance. Gould is always special I guess, but not special in ways that suit everyone. My feeling is that if you are of the school that wants the Art of Fugue played `expressively' you can probably leave this offering alone. Once Gould sets a tempo he sticks to it unflinchingly without rubato, and except for some build-up in the tone as D) progresses there is a very restricted range of dynamics within each piece, although the individual pieces are strongly contrasted in respect of both volume-level and pace. Interestingly, in those numbers which he gives in two different performances, he takes a markedly different approach each time. Conrapunctus II IV and IX are very much faster in the piano version than on the organ, but contrapunctus I on the piano is taken very slowly indeed, lasting nearly twice as long as in the organ account. It is a matter of one's own concept of the work basically. For me, the Art of Fugue is the ultimate in abstract `absolute' music. It is a monument of remote sublimity like pure mathematics or like the stars in the sky, and it is just there for us to wonder at and does not reach out to us or `express' anything. The player's task is to convey its grandeur, and for me Gould does that as no other version, (on any instruments whatsoever - Bach specifies none) has ever done for me, and I feel this most acutely in his much-criticised organ renderings. The organs he uses are not giants, and there is only limited use of the pedals. He uses mainly a detached fingering, although embracing a more legato style in contrapunctus VI. However it stands to reason that the parts in long sustained notes do not admit of the detached treatment, and I love Gould's selection of strongly contrasted stops to assist clarity further. These are the means he adopts. What these means are in furtherance of is an impression of utter grandeur in the sublime march of Bach's polyphony. It is even a privilege to be shown how this grandeur can be viewed from startlingly different angles in his alternative interpretations of 4 of the fugues.

The last fugue from the Art, the unfinished contrapunctus XIV, is taken at a very slow pace and ends abruptly where the dying composer left it. In the normal way of things I detest this procedure - whatever Bach intended it wasn't that, and in a composition that is the ne plus ultra of method many competent musicians have supplied conclusions that must, in the very nature of the case, approximate to what Bach himself would have done. However this was a television performance, and I gather that the camera was made to freeze at this point with Gould's right hand poised dramatically in mid-air. Gould, who kicked Ravel's piano transcription of La Valse into touch and wrote his own, is having none of that when it comes to Bach, and under the circumstances I stifle my own normal reaction to this abrupt hiatus.

One of the most extraordinary things about Bach is how popular he manages to be for all his seeming severity. The Art of Fugue is innocent of the lyricism that was also part of Bach's infinite musical gift, it makes no compromises with us, but I would say to newcomers to the work that Gould's accounts, partial as they are, would be the best place to start to know this unique and towering masterpiece. It is not any indivisible entity in any case. Better, to start with, to hear some of it presented like this than the entire set in many another, perhaps indeed in any other, version.

Worth getting for Contrapunctus XIV, but for full performance look elsewhere.......2005-08-07

This is a partial performance on organ paired with a partial performance on piano. I didn't care too much for the organ (although Gould's very "un-organistic" articulation does work with these pieces, I miss the unique expression of his piano playing). Some of the piano recordings sound like somebody surreptitiously taped them on a concealed tape recorder.

If you want a complete Art of Fugue on piano that's as close to Gould as it gets, go with Tatiana Nikolayeva's stellar 2 CD-recording on Hyperion (CDA66631/2). I have 9 AoF performances in my collection (piano, organ, string quartet, Hermann Scherchen's orchestral arrangement), and Nikolayeva's set is my favorite by far. (It also includes the two Ricercars from The Musical Offering BWV1079 and the four Duets BWV 802-805, originally for organ.)

However, if you're as much of a Bach nut as I am, the Gould CD is worth getting just for Gould's incredible performance of Contrapunctus XIV (the final unfinished fugue).

The Best Bach Interpreter of the Century.......2003-11-29

I absolutely love all the works played by Glenn Gould. Why 3 stars then? For a long time I have loved every work that Gould brought to life and I still absolutely love them. However, "The Art of the Fugue" really made me see some of Glenn's dark side. The flaw is that his high speeds have absolutely no excuse on this marvelous piece of creation. It is true that Gould is the best pianist when it comes to playing Bach, but to understand what I mean, go and listen to Contrapunctus IV by some other performer who plays it much slower than Glenn. I personally recommend especially the trumpet version. It will blow your mind and convince you that Gould's performance of this piece was really hiding its magnificent beauty and drama. It is simply not possible to express something so breathtakingly dramatic by playing it staccato and also too fast. Have you ever seen someone who had a great loss crying by short stops and very fast? I don't suppose so. And the comparison is very fair because all the instruments, especially the piano, were created to resemble the human voice. `Art of the Fugue' is nothing like the Goldberg Variations where Gould's touch made the music beautiful, especially the first slow movement (which he actually plays very slowly and hence compensates for the staccato). It is much more dramatic and the performer's first goal must be to convey the drama to the listener.

Who am I to judge Glenn? I just have had the privilege to listen closely to titans like S. Richter, E. Gilels, A. Rubinstein, A.Schnabel, S. Rachmaninoff, V. Horowitz, and many others. Not to mention that so far I have listened to the complete works of over 40 composers. Again, Glenn Gould plays beautifully, especially Bach's faster pieces, where even Emil Gilels and Sviatoslav Richter can't do such a precise and concise interpretation. But we must remember that Glenn is a great pianist, but a pianist that can't even match with the Genius of Johann Sebastian Bach (I have heard Glenn's compositions). It is ironic that listeners give so much credit to Gould that they absolutely forget that the only reason that he is able to play such beautiful pieces is because Bach has created them in the first place! With this in mind, we still can accept new ways of interpretation of Bach, BUT NOT TO THE POINT THAT IT DECREASES THE INTRINSIC VALUE OF BACH'S COMPOSITIONS. Glenn does not do this often, but it is shocking that he chose to show his over-interpretation on a work that is considered to be the most important one in the entire classical repertoire. If Glenn was made to play these pieces by his contractors then the flaws can be partially forgiven.

It all comes down to this: this work should by no means put Gould's abilities in question, since he is indeed the best Bach interpreter of this century. However, one must not be blinded and be focused on any singular performer for the interpretation of all the pieces in the classical repertoire - Gould might outdo Horowitz in performing the `Emperor Concerto' (Beethoven) and Gilels in playing Bach's `French Suites', but when it comes to pieces like Beethoven's "The Tempest," his staccato is not in its right medium and becomes a cat's play compared to the powerful fingers of Richter.
(I have heard over one hundred pieces by Gould and could barely notice his humming. Why? Because I hum with him! So please do not complain since a real classical listener should not even notice the humming. Imagine listening to someone talking and at the same time listening to Bach. As far as I am concerned, you shouldn't even be able to notice that that person even exists)

Excellent Rendition of the Art of the Fugue.......2003-03-08

This is my first Glenn Gould CD. At first, I was surprised by his staccato organ playing, but I soon began to really enjoy the CD. Some may find Mr. Gould's humming annoying, but I found it amusing (it doesn't bother me much). I only heard the humming on the tracks with piano and found that Gould was really into Bach. I have heard Glenn Gould's playing on the radio and must say that he is truly a master of Bach's keyboard music. The sound quality is good and the jewel case is very nice. I highly recommend this item if you like Bach, Gould, or both.

Average customer rating:

escellent recording
Lovely love music by a classical voice
Perhaps Love
Great
Our wedding songs!

Perhaps Love

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Tracks:

He Couldn't Love You More
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Customer Reviews:

escellent recording.......2007-05-30

I HAD ORIGINALLY WANTED THIS RECORDING FOR THE SONGS WITH JOHN DENVER. WELL I FOUND MYSELF VERY MUCH TAKEN WITH THE WHOLE CD AND LISTEN TO IT OFTEN.

Lovely love music by a classical voice.......2007-05-07

Love classical voice singing music like this alblum. Ordered a copy for a friend for her birthday. She called and compared Domingo to IL Divo on this CD and another I ordered. We both enjoy a great deal hearing the classical voice alone, or combined with other in old sacred music, some classical (e.g) from Operas like Peter, Elijah, Moses, etc. Some ofthe artists we can no longer find. I recorded some from 70s and 80s to tapes. No CDs except single songs. All were sung in English (I sang and understood the romance languages, some Germanic. Can't remember them. Wish I could. Find I can sing with them, but have a lot going, and spouse does not like anything but "old" country, which I enjoy also.

Perhaps Love.......2007-02-10

I was at a Grieving Class when I first heard this absolutely beautiful music. I had lost my husband of 58 years, one year earlier. I missed him terribly. The words in all of this music were singing to me. The tears were very healing and continue to heal as I listen to this music with Placido Domingo and John Denver. It has HEART. I want more of the romantic voice and passion of Placido Domingo.

Great.......2006-08-06

I listened to this cassette in 1981 and loved it - I lost it in a gazillion moves since then but found it here. And I still love it.

Our wedding songs!.......2006-03-19

Before my wife and I were married in 1984, she asked our church music director to recommend music for a friend of hers to sing at the wedding. He asked her if she preferred religious or secular music. Since she was open to either, he said the he had recently bought the album "Perhaps Love" and he loved the music. He especially recommended two songs - "Perhaps Love" and "My Treasure." Everyone at the wedding loved the music, and these are still two of our favorite songs.

We've worn out two casette tapes, so I recently ordered the CD.

If you haven't heard the album, it probably seems like a weird combination of voices and styles, but it actually works incredibly well. If you like love songs, I can't imagine not liking this.

Average customer rating:

Awsome Instrumental Music
The Bing Crosby songs are very good but....
AMAZING! Hauntingly beautiful...
A great soundtrack for a lover of WKW films
as gorgeous as the film!

In the Mood for Love (2000 Film)
Various Artists - Soundtracks
Manufacturer: Higher Octave OmTown
ProductGroup: Music
Binding: Audio CD

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ASIN: B000050G51
Release Date: 2000-11-06

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Yumeji's Theme - Umebayshi Shigeru
Mo-wan's Dialogue - In The Mood For Love ST
Angkor Wat Theme I - Michael Galasso
ITMFL I - Michael Galasso
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Amazon.com

Soundtracks are a mixed bag at best. Some are little more than an assortment of pieces, but others hang together effectively on their own, like this one. The idea of Chinese music--both popular and operatic--juxtaposed with the sounds of Nat King Cole performing Latin music might seem bizarre, but it works beautifully, sustaining a lush, romantic mood created both by the strings and the '40s Chinese music, itself a tinkling Hollywood pastiche. But as atmospheric as all this is, one track stands out above the others: "Blue," actually a version of the classic "St. James' Infirmary," takes on another dimension in Chinese hands. While familiar but completely alien at the same time, the slithering Asian sonorities mesh perfectly with the African-American form to create something evocative but with a sadness that goes beyond blues. The movie is of a time and place; the soundtrack is of a mood and yearning. Listen at night, with someone you love close by. --Chris Nickson

Customer Reviews:

Awsome Instrumental Music.......2007-03-09

The soundtrack is really good; I didn't like some of the songs (the Chinese ones) but there are only 3 in the whole CD. The instrumental music is awesome making the soundtrack an average good.

The Bing Crosby songs are very good but...........2006-07-17

In my opinion it`s the Bing Crosby-songs that makes this album worth buying, but these songs can be bought on compilations. The rest of the music is for people with special interest for backgroundmusic in films.

AMAZING! Hauntingly beautiful..........2006-05-09

So beautiful and emotional, it makes you want to cry! The score for the film and the collection of music together is absolutely breathtaking....

A great soundtrack for a lover of WKW films.......2006-03-22

I loved the film, so I love the soundtrack, which brings back memories of the film. WKW uses period music to evoke the emotions and feel of the time period of the film.

as gorgeous as the film!.......2006-02-11

Film soundtracks are often disappointing---there are songs from the movie that are not on the CD, songs on the CD that were not in the film, different versions of songs on the CD than in the film, etc.

Happily, this soundtrack is absolutely faithful to the film, and it is masterfully interwoven with dialogue excerpts from the film which complement and build on the music instead of being obtrusive. I don't understand a word of Chinese but still enjoyed listening to the actors' voices, and also liked the bits of traditional Chinese music as well. There are some tracks that I don't remember from the film but they are not throw-away filler in any way, just beautiful extras in the same vein.

Average customer rating:

Very Refined Yet Not Uncharming - One of Her Best Performances
Lovely, heartfelt Bach
It's perfect.
Elegant Artistry
Hewitt or Gould

Bach: French Suites / Angela Hewitt
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Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000300T
Release Date: 1995-11-21

Tracks:

Sonata In D Minor, BWV964: Adagio
Sonata In D Minor, BWV964: Fuga: Allegro
Sonata In D Minor, BWV964: Andante
Sonata In D Minor, BWV964: Allegro
French Suite No. 1 In D Minor, BWV812: Allemande
French Suite No 1 In D Minor, BWV812: Courante
French Suite No. 1 In D Minor, BWV812: Sarabande
French Suite No. 1 In D Minor, BWV812: Menuet I And II
French Suite No. 1 In D Minor, BWV812: Gigue
French Suite No. 2 In C Minor, BWV813: Allemande
French Suite No. 2 In C Minor, BWV813: Courante
French Suite No. 2 In C Minor, BWV813: Sarabande
French Suite No. 2 In C Minor, BWV813: Air
French Suite No. 2 In C Minor, BWV813: Menuet I And II
French Suite No. 2 In C Minor, BWV813: Gigue
French Suite No. 3 In B Minor, BWV814: Allemande
French Suite No. 3 In B Minor, BWV814: Courante
French Suite No. 3 In B Minor, BWV814: Sarabande
French Suite No. 3 In B Minor, BWV814: Anglaise
French Suite No. 3 In B Minor, BWV814: Menuet And Trio
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Six Little Preludes: Prelude In C Major, BWV924
Six Little Preludes: Prelude In G Minor, BWV 930
Six Little Preludes: Prelude In D Major, BWV 925
Six Little Preludes: Prelude In D Minor, BWV 926
Six Little Preludes: Prelude In F Major, BWV 927
Six Little Preludes: Prelude In F Major, BWV 928

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Six Little Preludes: Prelude In C Major, BWV 933
Six Little Preludes: Prelude In C Minor, BWV 934
Six Little Preludes: Prelude In D Minor, BWV 935
Six Little Preludes: Prelude In D Major, BWV 936
Six Little Preludes: Prelude In E Major, BWV 937
Six Little Preludes: Prelude In E Minor, BWV 938
Six Little Preludes: Prelude In C Major, BWV 939
Six Little Preludes: Prelude In D Minor, BWV 940
Six Little Preludes: Prelude In E Minor, BWV 941
Six Little Preludes: Prelude In A Minor, BWV 942
Six Little Preludes: Prelude In C Major, BWV 943
Six Little Preludes: Prelude In C Minor, BWV 999
French Suite No. 4 In E Flat Major, BWV815: Praeludium
French Suite No. 4 In E Flat Major, BWV815: Allemande
French Suite No. 4 In E Flat Majoe, BWV815: Courante
French Suite No. 4 In E Flat Major, BWV815: Sarabande
French Suite No. 4 In E Flat Major, BWV815: Gavotte I
French Suite No. 4 In E Flat Major, BWV815: Gavotte II
French Suite No. 4 In E Flat Major, BWV815: Menuet
French Suite No. 4 In E Flat Major, BWV815: Air
French Suite No. 4 In E Flat Major, BWV815: Gigue
French Suite No. 5 In G Major, BWV816: Allemande
French Suite No. 5 In G Major, BWV816: Courante
French Suite No. 5 In G Major, BWV816: Sarabande
French Suite No. 5 In G Major, BWV816: Gavotte
French Suite No. 5 In G Major, BWV816: Bourree
French Suite No. 5 In G Major, BWV816: Loure
French Suite No. 5 In G Major, BWV816: Gigue
French Suite No. 6 In E Major, BWV817: Allemande
French Suite No. 6 In E Major, BWV817: Courante
French Suite No. 6 In E Major, BWV817: Sarabande
French Suite No. 6 In E Major, BWV817: Gavotte
French Suite No. 6 In E Major, BWV817: Polonaise
French Suite No. 6 In E Major, BWV817: Bourree
French Suite No. 6 In E Major, BWV817: Menuet
French Suite No. 6 In E Major, BWV817: Gigue
Prelude And Fugue In A Minor, BWV894: Prelude
Prelude And Fugue In A Minor, BWV894: Fugue

Customer Reviews:

Very Refined Yet Not Uncharming - One of Her Best Performances.......2007-03-27

Ms Hewitt has never quite swept me away, and she certainly does nothing here to suggest she is a legendary pianist. However, she is very at ease with these works, and brings to them quite a bit of charm and piquancy. She's convincing and - my most important criteria for rating any CD - relistenable. The music itself is fresh and delightful, as charming as anything in all of Bach - he could be very charming indeed: though for too many Bach is revered as serious and intellectual. Anyway, these are nice performances and perhaps it's just my personal taste, but I find Ms Hewitt's efforts here in the lighter keyboard repetoire of Bach easier to accept than most of her efforts in the French repetoire.
The great performances of Bach's French Suites remain those of long ago - Helmut Wacha on the harpsichord, but those are not currently available in America.

Lovely, heartfelt Bach.......2005-11-07

Bach's music weaves together many elements: heartfelt story-telling, intellectual fascination, inspiring technique, and joyful dance. My favorite Bach interpreters are those who can reveal the innate sensitivity of Bach's music, and Angela does that superbly. Her tone is always singing, her dance rhythms will set even Grandma to jumping and cavorting, and her emotional connection so intimate I thought it was my mother singing to me in the cradle.

I particularly like that her technique never becomes showy in itself; even the difficult final Gigue of Suite 5 is purely about dance and joy.

Her ornaments are always tasteful. Not easy to do with Bach, when you consider that ornamenting is a form of composition.. and to ornament well, one is essentially adding to Bach's composition.

Her interpretation of Bach on the piano (as opposed to the harpsichord, for which is was written) is absolutely convincing.

This is my first CD purchase of Angela's Bach, and I plan to get them all.

It's perfect........2005-09-10

Awesome CDs. You need to have this if you enjoy piano classical music. Angela performs the best french suites!

Elegant Artistry .......2005-08-14

Recorded early in Angela Hewitt's Bach cycle, the popular French Suites (along with the "Little Preludes" and other two more dynamic virtuoso pieces) take a step back from the more serious and complex fugal compositions of Bach and settle into the restrained elegance of the courtly and rustic dances of the era. Although Bach never titled these works as "French," the suites take much of their inspritation from the various "dance" forms of music in that period (French mainly) that form each suite: the processional German-inspired allemandes ... the stately French courantes ... the spicier Italian correntes ... the slow and meditative sarabandes of Spanish-origin ... the French-aristocratic minuets, gavottes and airs ... the bouncy and free-spirited bourrees ... and, to close the suite, the most musically serious French gigues (inspired by the English 'jig'). The three minor-key suites take a more introverted flavor while the three major-key suites are more extraverted and bright. Suites 5 and 6 are perhaps the most popular for their bright, major-key sounds.

Every generation has its one or two Bach legends, and for the 'boomer generation,' one of them is certainly Angela Hewitt. Her poised playing finds its natural home here and wonderfully matches the spirit of this elegant, gentle and noble music. Her decorative touches are pure artistry and always delightfully enhance the atmosphere of the music without detracting or distracting. Penguin Guide gave this set their "Recommended Recording" of all the available recordings of the French Suites. It all just sounds "right" for this type of music. Addtionally, the sound quality is clear and without extraneous noise and has a somewhat-spacious but pleasant ambiance.

The so-called "Little Preludes" were exercises for Bach's son or pupils but really are not so "little" in terms of style or substance. Most are light and delightful - with some pure charm (BWV933). Notably Hewitt makes them all sound - not as mere exercises - but as viable performances in themselves. On a more virtuostic scale are the "filler works" on this CD: the Sonata in D minor and the Prelude/Fugue in A minor - the former being transcribed from the solo violin sonata in A minor (BWV 1003) and the latter being a work Bach later encorporated into the "Triple Concerto (BWV 1044, on Hewitt's Bach Concertos Vol. I). The closing allegro of the Sonata is a highlight and is played by Hewitt with an effortless radiance. Her galloping triplets and ever-so delicate and deft shifts in dynamics and touch here create the famous Bach "echo" that gives a facinating and larger-than-life quality to the movement. All-in-all, a most pleasant, accessible and artistic recording from one of the most talented pianists playing Bach today.

If you are trying to sort out Bach's great solo keyboard music, you can characterize them like this in general: the FRENCH SUITES are overall the most refined, elegant and 'restrained' musically (French courtly style) as compared to the more dynamic preludes and dances in the ENGLISH SUITES (but also having haughtingly-beautiful sarabandes to contrast). Along with the great showpieces, CHROMATIC FANTASY & FUGUE in C minor, the PARTITAS and the TOCCATAS are certainly the most outright virtuostic of the sets - with the latter being the most free of form and the most extemporaneous sounding. The two books of Bach's "WELL-TEMPERED CLAVIER" are in a class of their own from the often-charming preludes in Book I to the most complex musical-intelligence contained in the fugues of Book II. Bach's WTC is both systematic and pedogogic but also delightfully lyrical and often deeply meditative and is essential music in any piano-loving human being. This wide range of contrasting emotional qualities (movements) is really characteristic of nearly all of Bach's keyboard music and is most marvelously showcased in the legenday 30 GOLDBERG VARIATIONS. All of Angela Hewitt's Bach recordings are excellent (no 'dogs') and are consistently rated among the top 2 or 3 choices in the field. Hard to go wrong with any really.

Hewitt or Gould.......2004-09-29

Angela Hewitt is often compared to Glenn Gould, her fellow Canadian pianist, because she also plays Bach. I won't compare them. When I listen to Gould I marvel at his genius. When I listen to Hewitt, I marvel at Bach's genius.

Partitas 4 5 & 6 - 70th Anniversary Edition

Average customer rating:

Glen Gould at his best
Shallow and mechanical
ABSOLUTELY BREATHTAKING!!

Partitas 4 5 & 6 - 70th Anniversary Edition
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Partitas 1 2 & 3 - 70th Anniversary Edition
French Suites - 70th Anniversary Edition
English Suites 4 5 & 6 - 70th Anniversary Edition
Art of the Fugue - 70th Anniversary Edition
English Suites 1 2 & 3 - 70th Anniversary Edition

ASIN: B00006FIAR
Release Date: 2002-09-03

Customer Reviews:

Glen Gould at his best.......2007-03-09

A compelling, even thrilling, performance. Satisfying in technical execution and sound engineering.Worthy of listening to over and over again.

Shallow and mechanical.......2006-09-14

Well, where do I start?

First thing I noticed about some of these recordings is a few arrangements sound a bit shallow and thin. Upon reading the liner notes, my observations were confirmed when I read that Glenn modifies his piano to play more responsively. He does this by "fixing the action - so that it is a shallower and more responsive action than the standard".

For the faster ones, this lends itself in some cases, and in others, you would expect more feeling in the music. "Partita IV - Gigue" is one of my favorite Bach arrangements...but it sounds almost like a completely different song to me when Gould plays it....so fast and mechanical, void of human emotion or feeling. I was a little let down by that aspect. Respectively though, he does play them flawlessly...and amazingly fast!

Something else that I've noticed, is that in many, if not all, of the recordings, you can hear someone humming along with the music. Sometimes it's faint, sometimes it's obvious. I don't know if it's Glenn, or a conductor, or the producer, or what...but it can be distracting. But ala 1950's recording I suppose.

Regarding the recording, most songs have a nice stereo spread...but some are monophonic, so when listening in headphones, you notice the inconsistency.

Sorry if I'm offending any Gould fans out there, but this review would have been helpful for me, if such a review existed and I do hope this review will be helpful to someone out there looking for recordings of their favorite Partitas.

ABSOLUTELY BREATHTAKING!!.......2006-05-16

The apogee of this recording is the toccata in e--the first movement of the e minor Partita, S. 830.

This is one of the first recordings GG made for Columbia--immediately after the Goldberg Variations in 1955, and made the same year.

Bach's "toccatas" contained three to five episodes generally following this formula: i) the toccata, proper; ii) an adagio or arietta section; iii) a fugue.

Bach's toccata in e consists of i) toccata, introduction; ii) fugue/aria; iii) toccata, conclusion.

GG was an odd bird: at heart, an ardent Romanticist; on the surface, a sleek Modernist. He does something remarkable with this piece: he infuses an ardently subjective Romanticism with an hard-edged Modernism, turning this antiquated Baroque piece inside out: he makes the upward rushing thrust of the toccata into a pain-filled cry, and the fugue into a studied glacier. With his uncanny timing, GG stretches the piece out to nearly 10 mins: the ending, when the aria theme returns to conjoin the toccata recapitulation--with Gould's exquisite timing and incredible manual dexterity--is absolutely breathtaking. This is incredible art.

Average customer rating:

Bach: Preludes, Fughettas and Fugues

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

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Similar Items:

French Suites - 70th Anniversary Edition
The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II
A State of Wonder: The Complete Goldberg Variations (1955 & 1981)
Glenn Gould Plays Bach & Scarlatti
Gould Meets Menuhin

ASIN: B0000CF33K
Release Date: 2003-09-30

Tracks:

Prelude In C Major, BWV 933
Prelude In C Minor, BWV 934
Prelude In D Minor, BWV 935
Prelude In D Major, BWV 936
Prelude In E Major, BWV 937
Prelude In E Minor, BWV 938
Prelude
Fughetta
Prelude In G Major, BWV 902
Prelude In G Major, BWV 902/1a
Fughetta In G Major, BWV 902
Prelude In C Major, BWV 924
Prelude In F Major, BWV 927
Prelude In D Minor, BWV 926
Prelude In D Major, BWV 925
Prelude In F Major, BWV 928
Prelude In G Minor, BWV 930
Fugue In C Major, BWV 952
Fughetta In C Minor, BWV 961
Fugue In C Major, BWV 953
Prelude
Fugue
Prelude
Fughetta
Fugue On A Theme By Tomaso Albinoni In B Minor, BWV 951
Fugue On A Theme By Tomaso Albinoni In A Major, BWV 950
Chromatic Fantasy In D Minor, BWV 903a
Fantasy In G Minor, BWV 917
Fantasy In C Minor, BWV 919
Fantasy (And Fugue) In C Minor, BWV 906

Average customer rating:

Transported to another age
Exceptional!
Beautiful Sounds
Superb- For Connoisseurs of the Genre

Elizabethan Consort Music

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

General | Classical | Styles | Music

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La Folia, 1490-1701
Altre Follie, 1500-1750
Villancicos y Danzas Criollas
Anthony Holborne: The teares of the Muses
Isabel I: Reina de Castilla

ASIN: B0000242AT
Release Date: 1998-10-27

Tracks:

Pavin Of Albarri
Gallyard
In Nomine A 5
In Nomine III A 5
Desperada
Gallyard
Allemande
Browning My Dear
In Nomine V A 5
Ronda
La Represa
(Gallyard)
In Nomine II A 5
In Nomine III A 5
Allemana D'Amor
(Dance)
Quemadmodum A 6
Di Sei Soprani
Pavana
Brandeberges
La Represa
In Nomine IV A 6
O Mater Mundi A 5
Pavana
Gallyard
(Dance)
In Nomine IV A 7
The Song Called Trumpets A 6
In Nomine V A 7

Amazon.com

It's always a treat to experience the best of something: in this case, a performance of 16th-century music. Of course, the form and makeup of the viol consort, which includes various sizes of viols, often joined by other strings such as lute, itself is an instrumental configuration as close to perfection as any ensemble can be. This, accompanied by a style of writing that fully exploits the complementary timbres and the abilities of each instrument to delineate intricate polyphonic passages as well as to deliver chordal harmonies with uniquely rich resonance, makes for some of the most listenable music ever invented. Jordi Savall and his Hesperion XX are simply the world's best at this sort of music, and on this program they just flawlessly go about their business, bringing us more than two dozen delightful, dancing pieces from several composers, including John Taverner, William Mundy, and Anonymous. --David Vernier

Customer Reviews:

Transported to another age.......2001-01-23

Not that many years ago, my favourite classical DJ expressed the view that "original instruments" ensembles were a "passing fad". He was strong in his belief that early instruments, even those manufactured today on early models, couldn't provide the depth and range of music his critical ear required. The emergence of La Petite Band began the process of bending his rigid outlook. When Jordi Savall came into prominence, and in particular Savall's Hesperion XX, this commentator had become a staunch advocate. I followed right along with him.

This CD exemplifies the superb quality of music and sound production Savall and his team. It would be interesting to know just how deeply Savall gets into the production of his CDs, for they are uniformly excellent. This one takes us from Savall's Catalan to the courts of Elizabethan England. In presenting that time and place, Savall adds a special knowledge of how the music of that era was produced. You almost automatically feel yourself transported to an English manor house or palace to join the other courtiers in listening to these delightful renditions. It's important to remember that this was the primary domestic entertainment of the day. We forget how sensitive the hearing of the listeners of that day must have been to nuances we often miss in the sound competitive world we live in. They could, and did, focus on the sound and only the best was accepted. Or, indeed, even offered by composers.

Savall, as usual, has drawn it all together with finesse and ability. Watching him conduct is to see each note from every instrument drawn forth and assessed. It's almost as if the sound will not be released to the listener unless perfectly produced. But under his direction, that is exactly what is accomplished. Of all the CDs of Elizabethan instrumentals, this must be your first choice.

Exceptional!.......2001-01-22

This a wonderful cd and a must have if you enjoy this genre of classical music. A wonderful recording and very soothing to listen too. I find the opening track quite catchy. Get it!

Beautiful Sounds.......1999-11-18

This is a complex sort of music played on period instruments giving the late twentieth Century listener a challenge. Once you get over the novelty of the tones you find an underlying treat of rhythm and melody.

This is well worth buying.

Superb- For Connoisseurs of the Genre.......1999-08-22

Hesperion XX performs this genre of music as well as anyone today, and this recording shows their reputation is deserved. This music is played with consummate professionalism on period instruments. However, this might not be the best recording for a first exposure to this repetoire. It lacks a brightness that modern instruments have and that contemporary audiences frequently expect. It contains music by composers that you almost have to be a musicologist or a musician active in 16th century music to know. But if you want to hear a splendid and- I think- authentic recording of Elizabethan Consort music, then look no further.

Last Chance to Dance Trance (perhaps): Best of 1991-1996

Average customer rating:

Great "best of"
a "best of" that works
...not for all jazz fans!...
Who is the psycho who gave these guys a contract?
MMW AMAZING!

Last Chance to Dance Trance (perhaps): Best of 1991-1996
Medeski Martin & Wood
Manufacturer: Gramavision
ProductGroup: Music
Binding: Audio CD

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Shack Man
Note Bleu: Best of the Blue Note Years 1998-2005 (CD + DVD)
Combustication
Friday Afternoon in the Universe
Tonic

ASIN: B00001ZSUM
Release Date: 1999-10-12

Tracks:

Chubb Sub
Bubblehouse
Last Chance To Dance Trance (Perhaps)
Hermeto's Daydream
Is There Anybody Here That Love My Jesus
The Lover
Where's Sly?
Macha
Beeah
Strance Of The Spirit Red Gator
Bemsha Swing/Lively Up Yourself
Dracula
Night Marchers

Amazon.com

It's really no wonder the trio of John Medeski, Billy Martin, and Chris Wood hit it big with the improv-rock crew. Their grooves are impeccable and strong, at once taut and fully limber. And this collection shows that MMW knew their grooves even on their minor-splash debut, Notes from the Underground in the early 1990s, when Medeski played mainly piano. The tracks here range from organ-driven rhythmic twisters to slinky reggae covers ("Bemsha Swing/Lively Up Yourself," taken from 1993's It's a Jungle in Here) and all-out keyboard blasters built on loopy jazz-fusion rhythms (as on "Beeah"). Reprising the material that predates MMW's astonishingly successful Combustication, this album reveals a trio that has managed to combine grooves, postbop improvisation, and stellar talent without flinching from their first recorded outing. That you can catch the highlights of their first five releases--plus an unreleased live "Night Marchers"--on this one CD is a boon. --Andrew Bartlett

Customer Reviews:

Great "best of".......2005-05-30

This is a great album but I wouldn't recommend buying it. This album has a great assortment of songs which show off many of their older sides, but do not weave the wonderful stories their other complete albums do. I'd recommend buying either "It's a Jungle..." or "Shack man" and listen to it from start to finish a couple dozen times. Those are amazing experiences. Once you listen to those two, you will buy the rest of their music, and then have no need for this "greatest hits album."

a "best of" that works.......2002-07-21

I often have issues with "best of" releases. Either just poor track selections or a failure for the tracks to merge into a cohesive whole. But that's not the case with Last Chance. It's excellent from start to finish and represents MMW very well.

MMW is a hip and modern jazz trio with a penchant for experimentation and funky beats. Their sound isn't for everyone. But if you're looking for something fresh and exciting, definitely grab this cd. It's a great intro to the group.

...not for all jazz fans!..........2002-01-08

...most of this disc had to grow on me, like that hand-like parasite from the alien movies...and after awhile it did just that!!! they grabbed me by the throat and told me to pay attention!!! they on some jazz-fusion stuff, not as hard as herbie hancock's 'rockit' but related...in fact, they probably can be considered the next generation art-of-noise (a group i use to love back in the day!)...some of the music here really stands out, i'm glad to have this in my collection...

Who is the psycho who gave these guys a contract?.......2001-11-02

listen to this only if you're in need of a soundtrak for underwater alien observation or you're trying to drive someone crazy. This band (using that term loosely) sounds like a combination of people who've forgotten how to play their instruments and Dead Heads with nothing else to do. It is simply the worst thing I've ever heard. I saw them last night live and they were even worse in person.

MMW AMAZING!.......2001-10-03

What an amazing cd, you have all the best of MMW and the jazzy hip hop feel of good times. This cd should be owned by all jazz fans! totally sick!!!!!

Tracks:

Bride Of The Waves
The Holy City
Sounds From The Hudson (Valse Brilliante)
Killarney
Caprice Brilliante (The Debutante)
Perhaps Love's Dream Will Last Forever
Carnival Of Venice
Ah Cupid
Bride Of The Waves
Once Upon A Time
Rondo Caprice (From The Shores Of The Mighty Pacific)
Aloha Oe (Farewell) (Hawaiian Love Song)
Russian Fantasie
The Palms
La Veta Caprice (Lillian)
Berceuse From Jocelyn
Sounds From The Hudson (Valse Brilliante)
Twilight Dreams Waltz-Intermezzo
Southern Cross
Love's Old Sweet Song
Showers Of Gold Scherzo
Macushla
Caprice Brilliante (The Debutante)
Killarney
Carnival Of Venice
Stars In A Velvety Sky

Amazon.com

These 26 selections, recorded from 1904 to 1922, document the work of an important American player and band composer. Despite the trivial nature of most of the music, one can't help listening to Herbert Clarke's playing with respect and growing affection. He was a most elegant player, with a beautiful tone that comes across even in the earliest of these recordings. The showiest pieces, which can be quite dazzling, are still performed with taste and musicianship. This disc is an important sound document, and the transfers from even the earliest of the recordings are surprisingly listenable. Highly recommended to all brass and nostalgia lovers. --Leslie Gerber

Customer Reviews:

Brilliant playing transcending primitive recording technique.......2001-01-11

Hearing this CD -- despite the distracting surface noise from the primative acoustic recordings from which this CD was remastered -- I appreciate for the first time the greatness of Clarke as a cornet soloist. If he is not the greatest to date, he is surely one of the giants upon whose shoulders modern virtuosi of the trumpet (which has pretty much replaced the cornet) stand.

Clarke's sheer artistry in both composition and performance still dazzle and his interpretive ability brings to life some of the 'tear jerkers' of the golden age of popular brass music in a way no modern performance comes close to.

Although on first hearing one could be very much distracted by the primitive recordings, the brass player soon focuses on Clarke's playing so completely that the the surface noise disappears.

Every trumpet player and cornetist, more, every brass player and lover of band music, should own a copy.

The Master of the Cornet.......2001-01-04

God bless Crystal Records for taking the time to re-issue these extremely rare and valuable recordings from an unfortunately neglected giant in American musical history. Most people today don't realise how famous and influential Mr. Clarke and his peers (Sousa, Pryor et. al.)were on the American musical scene at the beginning of the Twentieth century. It is very important that these recordings (and others from this period, the birth of sound recording) be preserved for future generations.

As for those who could not stand the "hiss" on these recordings, how spoiled can you be? You simply miss the point of all this. We all know that these records were made during the infancy of the recording industry, and that they didn't have the technology we now have. I find it thrilling to listen to them just as they are. Recorded sound is the closest we have to time travel, and I find it fascinating to listen to these recordings as though I was there when they were first made. And most of all, through the marvel of recorded sound (Mr. Sousa notwithstanding) I can listen today to the greatest cornetist who ever lived, even though he passed away over 50 years ago.

Hopefully Crystal Records will someday put out an anthology of original Sousa and Pryor Band recordings.

Clarke is the cornet master!.......2000-08-03

Herbert Clarke is the finest cornetist the planet has ever seen. The technical brilliance on Carnival is just breathtaking. The sound quality of the recording is little hinderance on the true genius behind this man's playing. Don't let the hiss bother you!!!

heartbreaking music from a bygone era.......2000-03-22

These vintage recordings would have been otherwise lost to us--and a great loss at that. Clarke plays so beautifully, esp. those pieces that he wrote. It's notall oom-paa-paa, but music that is deeply affecting and stirring.This is the effect that Wynton Marsalis was going for in his "Carneval." While Marsalis's album is a wonderful tribute, this is the original. A must-have for any serious trumpet player.

Be careful.......1999-09-14

Watch out if you want to buy this cd! It's a good cd with Herbert Clarke playing some of his own pieces the way they should be played...but the recording is TERRIBLE! Naturally, it's a 1904 recording! But the hiss for the first half of the cd is almost painful. It's NOT something you can just ignore, so don't be caught unawares.

Average customer rating:

Serene: Correct Track Listing
A Deceptive Rerelease of Sanctuary of Rejunvenation

Serene
Aeoliah
Manufacturer: Oreade Music
ProductGroup: Music
Binding: Audio CD

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

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Similar Items:

Angel Love II: Sublime
Realms of Grace: An Angelic Experience
Zen Peace
Majesty
The Journey Home

ASIN: B000055YCQ
Release Date: 2001-03-06

Tracks:

Serene Splendour
Angel Father
The Healing Heart
Angel's Touch
The Gift
Phoenix Rising
Ecstacy

Customer Reviews:

Serene: Correct Track Listing.......2007-05-31

Beautiful Relaxing Music....

2005 review is not acurate for this title.

Amazon track titles for this CD also not correct....

Here is the REAL TRACK LISTING for the Aeoliah CD SERENE

Angel Love
Radiance
Eternal Spring
The Embrace
Sanctuary
Sea of Bliss
WindSong------->simular to the Love in the Wind CD version
Oasis----------->3:06 edit from Love in the Wind CD
The Treasure--->7:08 edit from Angels of Healing II CD

See Sanctuary of Rejuvenation CD for other corrected detail.

A Deceptive Rerelease of Sanctuary of Rejunvenation.......2005-05-28

I've purchased many of Aeoliah's CD. I am incensed to find that Serene is identical in every way to "Sanctuary of Rejuvenation" except the cover art! Buyers be warned if you already own "Sanctuary of Rejuvenation." That said, if you like a restful slow bath of warm sound, this will provide it.

Music:

Music

music

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