The Resurrection [Explicit Lyrics]

Track Listings

1. Ghetto Prisoner

2. Still

3. World Is a Ghetto

4. Open Minded - DMG, Geto Boys

5. Killer for Scratch

6. Hold It Down - Facemob, Geto Boys

7. Blind Leading the Blind - Geto Boys, Menace Clan

8. First Light of the Day

9. Time Taker

10. Geto Boys and Girls

11. Geto Fantasy

12. I Just Wanna Die

13. Niggas and Flies

14. Visit With Larry Hoover

15. Point of No Return

The Resurrection,The Geto Boys,Virgin,Gangsta Rap,Hardcore Rap,Rap,Southern Rap

Average customer rating:

Awesome
Great CD
Wonderful CD
very happy
Beautiful music

Resurrection
Nicol Sponberg , and Nicol Smith
Manufacturer: Curb Records
ProductGroup: Music
Binding: Audio CD

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Nicol Smith
Rose Of Bethlehem
Be Still My Soul
Press On
Greatest Hymns

ASIN: B0002IQFKO
Release Date: 2004-08-10

Tracks:

Jacob's Well
Not Your Again
Resurrection
Anything And Everything
Safe
Crazy In Love
All That I Believe In
The Spirit In Me
A Better Place
Hallelujah

Customer Reviews:

Awesome.......2007-07-11

This cd is awesome. I play in over and over. Great worship on the way to work.

Great CD.......2007-05-13

Not a weak song on the CD! The title track, Hallelujah and Safe are all favorites.

Wonderful CD.......2007-05-13

This CD should be a MUST HAVE for all Christians. It's AMAZING!

very happy.......2007-02-12

When i ordered this cd, I did not realize it was a relgious CD...I fell in love with a song that I thought was written about a love she had...not knowing most of it was for God....it kinda gave me new insite....

Beautiful music.......2007-01-10

I love this CD. Her music is very moving. It's also just a little bit different from mainstream Christian music--which I like.

Average customer rating:

100th review (i think)
This album is aight.
Common's more polished sophomore album delivers...............
AMAZING!!!
Good hip hop album

Resurrection
Common
Manufacturer: Relativity
ProductGroup: Music
Binding: Audio CD

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Illadelph Halflife

ASIN: B000003BXN
Release Date: 1994-10-25

Tracks:

Resurrection
I Used To Love H.E.R.
Watermelon
Book Of Life
In My Own World (Check The Method)
Another Wasted Nite With...
Nuthin' To Do
Communism
WMOE
Thisisme
Orange Pineapple Juice
Chapter 13 (Rich Man Vs. Poor Man)
Maintaining
Sum Sh*t I Wrote
Pop's Rap

Amazon.com

A couple of years after asking Can I Borrow a Dollar? and before he lost the "sense" in his moniker, the Chicago MC now known as Common dropped this impressive sophomore set, marking him as one of the most versatile MCs to emerge in the 1990s. Shirking the often derivative flows of his debut, Resurrection finds the Windy City rhymer ably assisted by the voluptuous jazzy excursions of producers No I.D. & Ynot. He revels in ear-tickling wordplay, slinging countless witty punchlines and similes on "Orange Pineapple Juice" and "Communism"--songs that require several listens to unravel. Far from relentless chest-thumping bravado, Common's lyrics have substance, exploring inner faults and fears on "Book of Life" and touching poignancy on his classic metaphorical ode to hip-hop culture, "I Used to Love H.E.R.," a track that is perhaps more relevant today than when it was released. The beginnings of Common's ongoing struggle between his boyish effusiveness and moral responsibility, which figures greatly in his subsequent releases, is captured on this essential release. --Del F. Cowie

Customer Reviews:

100th review (i think).......2007-07-13

this cd, as of late july 2007 has 4 1/2 stars

i disagree

this is a 5 star cd

and where is this Ynot guy on Chapter 13 (rich man vs. Poorman) his verse is so nice

This album is aight........2007-06-24

Yup, it's just alright to me. I know that many rate this album as one of the greatest, but I didn't hear that when I listened to it. When I heard this album back in the say when it first came out, I didn't like it at all. I figured that since my tastes have changed since then, I'd give it another shot. So, I got it from the local library and while I like it better now then I did then, I still can't really feel this album too much. My first Common album (the first one that I bought) was "One Day..." Now, that was a very good album, one of the best to date IMO. Since then, I've purchased every album that Common has come out with and have not been disappointed. It appears to me that he went through a serious change between "Resurrection" and One Day..." I guess that he went through a process of maturing and began writing better lyrics, which is why I like "One Day..." a whole lot better than "Resurrection" His style of rhyming and the lyrics here I just did not like. I loved the jazz infused beats and his pop's rap at the end, but I just didn't really care too much for the songs. I still like the album some, but not as much as his other albums.

Common's more polished sophomore album delivers......................2007-01-27

I slept on this dude big time. Just checking out in 07.

Key Joints:
Chapter 13 (Rich Man Vs. Poor Man) (Very Good)
I Used To Love H.E.R. (Classic)
Resurrection
Communism
In My Own World (Check The Method)
Pop's Rap

AMAZING!!!.......2006-11-16

In the vein of the great MCs of this thing we call Hip-Hop, Common arises from the fray with his sophmore opus, which, is a masterpiece. Period. This album truly showed the dexterity he shares with the greats of the game all while sprinkling consciousness on our heads and in our ears. Kudos to the chef!

Good hip hop album.......2006-09-28

The best album ever from Common !! not bling of course, but really blue note album , jazzy and instrumental !!!

Mahler: Symphony No. 2 / Mehta, Vienna Philharmonic Orchestra

Average customer rating:

An attempt at an informed opinon
bad recording
Musically Flawless
No finer Mahler recording
How did Zubin Mehta become Mr. Slick?

Mahler: Symphony No. 2 / Mehta, Vienna Philharmonic Orchestra
Gustav Mahler , Zubin Mehta , Ileana Cotrubas , Christa Ludwig , and Wiener Philharmoniker
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Gustav Mahler: Symphony No. 1 / Songs of a Wayfarer - Dietrich Fischer-Dieskau / Bavarian Radio Symphony Orchestra / Rafael Kubelik
Mahler: Symphony No. 4

ASIN: B00004TEUZ
Release Date: 2000-06-13

Tracks:

Symphony No. 2 In C Minor - 'Resurrection': I. Allegro maestoso - Mit durchaus ernstem und feierlichen Ausdruck
Symphony No. 2 In C Minor - 'Resurrection': II. Andante moderato - Sehr gemachlich
Symphony No. 2 In C Minor - 'Resurrection': III. In ruhig fliesender Bewegung
Symphony No. 2 In C Minor - 'Resurrection': IV. Urlicht - Sehr feierlich, aber schlicht
Symphony No. 2 In C Minor - 'Resurrection': V. Im Tempo des Scherrzo - Wild herausfahrend
Symphony No. 2 In C Minor - 'Resurrection': Maestoso. Sehr zuruckhaltend -
Symphony No. 2 In C Minor - 'Resurrection': Sehr langsam und gedehnt
Symphony No. 2 In C Minor - 'Resurrection': Aufersteh'n ja auffersteh'n wirst du : Langsam, Misterioso -
Symphony No. 2 In C Minor - 'Resurrection': O glaube, mein Herz, o glaube : Etwas bewegter

Amazon.com

"Beg to report safe delivery of a strong, healthy last movement to my Second. Father and child doing as well as can be expected." So ran Mahler's jubilant message on completion of his "Resurrection" Symphony, which after several years' painful gestation had come together in his mind with a sudden flash of inspiration. It had begun as a single-movement funeral rite, and gradually taken shape under the influence of Schubert's music, but the choral conclusion of Beethoven's Ninth was its Grail. Zubin Mehta's 25-year-old recording is a superb addition to the ranks of contending interpretations. It is lighter on its feet than Bernstein's classic version, with all the elements in Mahler's tonal landscape brought out in high relief: by turns lush, austere, grandiose, and intimate. Here is the Vienna Phil at its best, with two incomparable voices on the bridge--Christa Ludwig's steely mezzo and Ileana Cotrubas's soaring soprano. The "Legendary" on the cover is not hype: This is still as good as it gets. --Michael Church

Customer Reviews:

An attempt at an informed opinon.......2007-03-20

Question: What do my favorite symphony and my favorite soprano have in common?
Answer: They are both on this CD!!

Ok, that said even Ileana Cotrubas can't carry this over the Klemperer/Schwazkopf recording. In my opinion (and this is probably because I was introduced to the other recording first), the tempos on this disc are too fast, and take away from the dramatic buildup that I think Klemperer does better. In the third movement the quicker tempo is nice but in the second section of the fifth movement (track six) the "swinging" of the violins for example doesn't have the same effect. Anyway you really can't go wrong with either recording, and if you think I'm a complete ignoramus, thats ok. I can see that this opinion may not be taken too well by some.

bad recording.......2006-11-11

I received the first recording and in the final movement there was a bad skipping. I notified Amazon and they sent me another recording which had the same problem. I received a credit and Amazon said the recording was evidently a bad one and they would check it out. Thanks Billy Ledet

Musically Flawless.......2006-06-03

So how about that? A Mahler second that actually moves! The result is one of the most exciting readings of all time. It's truly legend.

This is one of the two greatest Mahler seconds. Here Mehta, who can often be an oddly questionable interpreter, lightens the music at just the right level, making it brilliantly unique. Instead of allowing the music to sink into itself, like most imitations of Bernstein's classic reccording.

Music has to move, it has to speak, it has to breathe..

Never has Mahler been so logically accessible and tended for. The experience gained from this recording is greatly edifying, if not spiritual.

Technically however, its not perfect: one thing that makes it somewhat lacking. Sometimes the orchestra is not really synchronized. Precision is sometimes sacrificed for Mehta's ingenious creativity. However, to me these sort of flaws just make the piece more homely and natural.

The Vienna is of course fantastic in sound. Brilliant, but deep and always resonant.

This is some masterpiece material. A truly excellent CD.

No finer Mahler recording.......2006-01-09

I have heard the Mahler Symphony #2 many time in performance and on recordings. In my opinion, none equals this fantastic effort by Mehta. It is a revelation from beginning to end. My first experience with the piece was hearing Bruno Walter conduct the New York Philharmonic in a captivating performance long ago. That introduction to this apotheosis of Romantic music pales by comparison. There is a very good reason why this recording has never been out of print. It is simply the best.

How did Zubin Mehta become Mr. Slick?.......2005-10-01

(I don't believe in doublng up on the same review, but I am posting this one twice--for Metha's Mahler Fifth and Mahler Second--for the purpose of comparison.)

How did Zubin Mehta move from the highly promising conductor of the Mahler Second heard on Decca with the Vienna Phil. to the veteran hack we hear on the Mahler Fifth from New York? As a student Mehta studied in Vienna, and he fully desrved to lead the Philharmonic when he recorded this "Resurrection," at the height of his populairty in L.A. But from the moment he took over the New York Phil., succeeding the controversial Pierre Boulez, he started on a decline into slick, routine, uninvolved conducting that has few highlights to redeem it.

His numerous NY Phil. recordings for CBS are essentially forgotten, and with good reason. Listen to his return engagement condcuting the Mahler Fifth, and what do you hear? Impatient, rushed tempi, blatant phrasing that dumbs down Mahler's musical intent, indifference to emotion and inner meaning, apparent ignorance of Mahler style. None of those defects exist in the excellent and idiomatic reading of the Ressurection. The gaudy brass playing in the Fifth sticks out like a sore thumb, a far remove from the brilliant and musically satisfying brass on the Vienna recording.

The other sad waste of conducting talent must be Lorin Maazel, whose superficiality and apparent boredom are equal to Mehta's. It's too bad the NY Phil. is burdened with Maazel now--no doubt they are headed into a totally forgettable era to mirror the one Mehta reigned over thirty years ago.

Average customer rating:

The resurrection of pigboy crabshaw The Paul Butterfield
If you get this one, you're getting the Wrong Version
THE BLUES ALBUM!
'Pigboy' is the killer Butterfield Album
YOU'RE BUYING THE WRONG CD!

The Resurrection of Pigboy Crabshaw
The Paul Butterfield Blues Band
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

East-West
Paul Butterfield Blues Band
Better Days
It All Comes Back
The Original Lost Elektra Sessions

ASIN: B000002I29
Release Date: 1989-10-03

Tracks:

One More Heartache
Driftin' And Driftin'
Pity The Fool
Born Under A Bad Sign
Run Out Of Time
Double Trouble
Drivin' Wheel
Droppin' Out
Tollin' Bells

Customer Reviews:

The resurrection of pigboy crabshaw The Paul Butterfield.......2007-05-12

YOU DON'T HAVE TO BE A BLUES FAN TO OWN THIS CD

This is pure Genius, such a substantial sound, one of his best CD's.
The best blues Harp in the business, of course Paul Butterfield is one of my Musical Heroes, need, I say more. Just tune in and listen.

HMR Music Lover

If you get this one, you're getting the Wrong Version.......2007-04-02

The UK version is digitally remastered, and packed with (the unavailable in the US) In My Own Dreams. It's a little more, but really worth it.

THE BLUES ALBUM!.......2006-01-03

I have loved this record since the first time I listened to it oh so many years ago. This is, in my opinion, the best blues record ever recorded and that's saying alot. All of the songs hit the bullseye. "Driftin' and Driftin'", "Born Under A Bad Sign", "Tollin' Bells", and all of the rest were truly inspired renditions of these songs. I appreciate all of the previous and latter Paul Butterfield Blues Band recordings but "The Resurrection of Pigboy Crabshaw" is their zenith. Do yourself a favor and get this fantastic recording.

'Pigboy' is the killer Butterfield Album.......2005-02-03

From Kim Whitesides colourful images to the blistering music inside this cd. This is the best of the Butterfield band during that tumultous period between its 'start' in 1965 to the late 1967 period. This album cooks with driving tunes such as 'Drivin Wheel', 'Driftin' and Driftin' and Born under a Bad Sign. After the departure of Mike Bloomfield Elvin Bishop kicks this band up several notches. His stinging solos and dynamic rhythmic interplay with other band members including drummer Phillip Wilson make this a hands down success. Phil Wilson here pumps one beat after another into this creative ensemble. He is worth the ticket alone. Sadly this wonderful musician was murdered in the 1990's. Butterfield's singing catapaults this band into 4th gear. This is the blues as it was meant to be played. Tollin' Bells is the sad and lonely blues harp wailing at life's misfortunes. The band sounds fresh and excited about this music and it still burns after several decades. Go get it!

YOU'RE BUYING THE WRONG CD!.......2004-11-03

Yes, this is the great PBBB's 3rd album, but it's not the CD you should be buying.

This domestic CD was released in 1989 and has never been remastered.

The import 2CD version of this title (backed with the PBBB's 4th "In My Own Dream") is the one to get. It was remastered in 2004.

Ditto for "The Paul Butterfield Blues Band" & "East West"; the 2004 import 2CD is also remastered (and sounds incredible) and the domestic CD's are not.

Why WEA and Elektra have not made these four remasters available domestically is a mystery.

Don't waste your money on these inferior versions: Get the imports!

Link to the remastered import of Resurrection of Pigboy Crabshaw/In My Own Dream

Average customer rating:

Groundbreaking but partly outdated
Outstanding Mahler Compilation
Bernstein or Tennstedt: read on....
Comparing the two Bernstein Mahler cycles
Mahler complete symphonies.

Mahler: The Complete Symphonies
Dame Janet Baker , Jennie Tourel , Lili Chookasian , Martha Lipton , Israel Philharmonic Orchestra , New York Philharmonic , Hans Vollenweider , Adele Addison , Dame Gwyneth Jones , Erna Spoorenberg , Lee Venora , Lucine Amara , Reri Grist , John Mitchinson , and Richard Tucker
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mendelssohn: 5 Symphonies; 7 Overtures
Schubert: 8 Symphonies
Bruckner: The Complete Symphonies
Johannes Brahms: The Symphonies
Dvorák: The Symphonies

ASIN: B0000589BP
Release Date: 2001-01-30

Tracks:

Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein

Tracks:

Sym No.2 in c 'Resurrection': Movt I: Allegro Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Sehr Massig Und Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Schnell - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo Sostenuto - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Andante Moderato - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Energisch Bewegt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Wieder In's Tempo Zuruckgehen. Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: In Ruhig Fliessender Bewegung - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Vorwarts - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Zum Tempo I. Zuruckkehren - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan

Tracks:

Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Veni, Creator Spiritus! - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Imple Superna Gratia - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Tempo I. (Allegro, Etwas Hastig) - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Accende Lumen Sensibus - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Qui Paraclitus Deceris - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Gloria Patri Domino - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...

Tracks:

Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
Sym No.3 in d, Part Two: Movt III: Tempo I. Mit Geheimnisvolles Hast! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlich, Beinahe Langsam - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Sehr Langsam. Misterioso. Durchaus Ppp - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt V: Lustig Im Tempo Und Keck Im Ausdruck - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...

Tracks:

Sym No.3 in d, Part Two: Movt VI: Langsam. Ruhevoll. Empfunden - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Nicht Mehr So Breit - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I. Ruhevoll! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: A Tempo (Etwas Bewegter) - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Langsam. Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Three Ruckert Songs: Ich Atmet Einen Linden Duft - Jennie Tourel
Three Ruckert Songs: Ich Bin Der Welt Abhanden Gekommen - Jennie Tourel
Three Ruckert Songs: Um Mitternacht - Jennie Tourel
Des Knaben Wunderhorn: Das Irdische Leben - Jennie Tourel
Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Jennie Tourel
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Jennie Tourel
Kindertotenlieder: Wenn Dein Mutterlein - Jennie Tourel
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Jennie Tourel
Kindertotenlieder: In Diesem Wetter! - Jennie Tourel

Tracks:

Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
Sym No.4 in G: Movt I: Tempo I - Reri Grist
Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
Sym No.4 in G: Movt III: Andante - Reri Grist
Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist

Tracks:

Sym No.5 in c#: Part I: I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part I: II. Sturmisch Bewegt. Mit Grosster Vehemenz - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part II: III. Scherzo. Kraftig, Nicht Zu Schnell - James Chambers
Sym No.5 in c#: Part III: IV. Adagietto. Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part III: V. Rondo-Finale. Allegro - New York Phil/Leonard Bernstein

Tracks:

Sym No.6 in a 'Tragic': I. Allegro Energico, Ma Non Troppo (Heftig, Aber Markig) - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': II. Scherzo. Wuchtig - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': III. Andante Moderato - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - New York Phil/Leonard Bernstein

Tracks:

Sym No.7 in e: Movt I: Langsam (Adagio) - Raymond Sabinsky
Sym No.7 in e: Movt I: Nicht Schleppen - Raymond Sabinsky
Sym No.7 in e: Movt I: Allegro Risoluto, Ma Non Troppo - Raymond Sabinsky
Sym No.7 in e: Movt I: A Tempo (Sempre L'istesso) - Raymond Sabinsky
Sym No.7 in e: Movt I: Subito Allegro I. Ziemlich Ruhig - Raymond Sabinsky
Sym No.7 in e: Movt I: Adagio (Tempo Der Einleitung) - Raymond Sabinsky
Sym No.7 in e: Movt I: Maestoso. Allegro Come Prima - Raymond Sabinsky
Sym No.7 in e: Movt II: Nachtmusik I. Allegro Moderato - Raymond Sabinsky
Sym No.7 in e: Movt II: Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Raymond Sabinsky
Sym No.7 in e: Movt II: Tempo - Raymond Sabinsky
Sym No.7 in e: Movt III: Scherzo. Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Raymond Sabinsky
Sym No.7 in e: Movt III: Trio - Raymond Sabinsky
Sym No.7 in e: Movt III: Wieder Wie Zu Anfang (Nicht Eilen) - Raymond Sabinsky
Sym No.7 in e: Movt IV: Nachtmusik II. Andante Amoroso - Raymond Sabinsky
Sym No.7 in e: Movt IV: (Figure 197) - Raymond Sabinsky
Sym No.7 in e: Movt V: Rondo-Finale. Tempo I (Allegro Ordinario) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Tempo I (Halbe Wie Die Viertel Des Tempo I) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein

Tracks:

Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Janet Baker
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Janet Baker
Kindertotenlieder: Wenn Dein Mutterlein - Janet Baker
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Janet Baker
Kindertotenlieder: In Diesem Wetter! - Janet Baker
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Veni, Creator Spiritus! - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Imple Superna Gratia - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Tempo I. (Allegro, Etwas Hastig) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Accende Lumen Sensibus - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Qui Paraclitus Diceris - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Gloria Patri Domino - LSO/Leonard Bernstein

Tracks:

Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Gerettet Ist Das Edle Glied - Leeds Festival Chor/London Sym Chor/Highgate School Boys Choir
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jungfrau, Rein Im Schonsten Sinne - John Mitchinson/Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor

Tracks:

Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagissimo - New York Phil/Leonard Bernstein

Amazon.com

For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the "Adagio" movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection.

Using the same budgeted design as on their (surprisingly pricey) Original Jacket series of box sets, Sony has unleashed a true bargain here: 12 CDs that average a little over five bucks a pop. Lenny's second cycle for Deutsche Grammophon may boast greater sonics, plenty of wonderful moments, and the complete song cycles, but it costs more than twice as much. Here, we get a younger Lenny, sounding fresh and expressive and delivering still-unparalleled interpretations of the First, Third, Seventh, Eighth, and Ninth, and pretty great performances of the rest. The intensity on these discs is infectious and the price can't be beat. A must-have. --Jason Verlinde

Customer Reviews:

Groundbreaking but partly outdated.......2007-03-26

Recorded 1960-67, this is the first complete cycle of Mahler's numbered symphonies (1-9 + no. 10 Adagio), and, as such, an essential purchase. Add Bernstein's 1966 classic recording of Das Lied von der Erde (Decca), and you get a piece of recording history: the development of the Mahler boom in the sixties.

How do these recordings stand today? The interpretations of the third, fourth, and seventh are very fine, even exceptional, and, despite their age, the recordings are sonically impressive as well. NYPO plays marvellously. The seventh, in particular, is a reference disc.

The remaining recordings are not really for the desert island, however. The fifth, for instance, is very unsuccessful and badly recorded too. Bernstein's later account on DG is clearly an improvement. The same holds for the second symphony, which you also find on DG in a later, much improved and moving interpretation. But here we have also a crowded field of classic performances, such as Klemperer's second (EMI) and Walter's fifth (SONY). Both are preferable to Bernstein's recordings, old or new.

The first, sixth, eight and ninth are quite good but not exceptional. No one beats Kubelik's first (DG). Mitropoulos (BMG Great Conductors) and Barbirolli (EMI) own the sixth. The eight - well, here we have Horenstein (BBC) and Mitropoulos (Orfeo) as classic, first choices. And for the ninth, Ancerl (Supraphon), Barbirolli (EMI), Klemperer (EMI) and Walter (SONY) sound far more attractive and fresh than Bernstein's mannered account.

If you're a collector this box is of course essential - regardless all critical considerations. But if you just look for an excellent and consistent Mahler box, go for Gary Bertini's cycle on EMI, which you get for a super-bargain price. It's a contemporary and future classic.

Thus I recommend a pick of individual Bernstein SONY CDs: the third, the fourth and the seventh. Add his fifth and second from his DG recordings, and his 1966 Das Lied von der Erde (Decca). These recordings are what I take to be the "essentials" of the Bernstein Mahler legacy.

Outstanding Mahler Compilation.......2007-01-29

I think is very important for a Mahler Fan to hear carefully all his work. This compilation allows you to enjoy that experience. A better sound quality for some symphonies could be a great plus, but you have to consider that this is a remasterized old record.

Leonard Bernstein just express the true passion that Mahler put on his work. It's incredible that (using the 8ve Symphony as an example) with fewer instruments than in the Abbado version, the feeling is even better. Simply outstanding.

Great price, great compilation. Lot of Mahler.

Bernstein or Tennstedt: read on...........2006-07-12

If the only way you could obtain the Mahler Symphonies was by buying a box containing them all by one conductor, then this would be my second choice, or my first!; my first (or second)would be the Tennstedt set. It's a close call thoughout - a 'swings and roundabouts' situation, but if Bernstein's was the one and only then I would be happy enough. Actually if you want a truly satisfying Mahler Symphonies collection then the two sets together sitting side by side on your CD shelf would be pretty well ideal, as I believe that the legacy of recordings by these two great men are nowhere surpassed (save Horenstein in the Fourth, Barbirolli in the Sixth and Rudolf Schwarz in the Fifth). As to comparisons between individual symphonies, the following would be my first choice:

No. 1 Bernstein. More poetic and earthy than T and my very first choice out of the dozens of others I've heard.
2 Bernstein. Simply the greatest Mahler 2; T is earthbound by comparison.
3 Tennstedt. Actually this is a tougher one to decide as B is marginally better in the first movement and he produces the best sixth movement of any version I've heard. Overall T has it, partly due to the excellent sound quality.
4 Overall B is better but there are so many points of comparison to take into consideration that it's a tough one to decide. T has the better soloist in the finale. My far-and-away first choice in the Fourth is Horenstein on EMI/CfP.
5 Tennstedt. Bernstein's CBS Fifth was the weakest link. However, Rudolf Schwarz (Everest) produces the very finest Fifth:
I always maintain that you can tell pretty much straight away when a Mahler conductor gets it right and Schwarz gets it 100%
6 Tennstedt. From the angry crunching heavy tread of the opening through to the nightmare ending, this is a very dark view of the Sixth, but it works. Barbirolli on EMI is my definite first choice in the Sixth. Bernstein's quick-march approach sounds like parody.
7 Bernstein. Nobody has produced a better Seventh and probably never will. T's version is very good though and I think he out-performs all other competition.
8 This one is the hardest of all to separate, but in the end I opt for Bernstein as his version as the feel of a live performance and the recording is almost as good as T's digital one.
9 Bernstein. Again my favourite version. T's weakest link of his whole set.
So Bernstein scores more points, but take into account the generally better sound of the Tennstedt set (especially in nos. 3,5,6) and things are evened up slightly. My advice overall? Go for both sets; at the asking prices you will have a superb Mahler Symphonies collection which will last you a lifetime. But don't forget those other versions of 4, 5 and 6. A point about sound quality: most of the above are analogue recordings, made many years ago, but across the board they are in almost every way superior to most modern digital ones (though to be fair one or two are not so great). I have a very good stereo system which reproduces very neutral sound; what goes in at the CD player end comes out unchanged at the loudspeaker end and so what I hear is the 'real thing'. For example Bernstein's 2 is stunning. One of the very best is the oldest of them all - Schwarz's Fifth, made in 1958. Maybe the art of recording has been replaced by science (and not for the better)? In the final analysis, to my mind the above versions render most of the rest of the Mahler symphonies discography redundant and surplus to requirements.

Comparing the two Bernstein Mahler cycles.......2006-06-27

Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.

Cycle #1:

By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good. In fact, there's no need to fear the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.

Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.

Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.

In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.

I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.

To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.

Cycle #2:

It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).

The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.

Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.

The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.

I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.

How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.

Mahler complete symphonies........2006-02-24

"Mahler was an altogether great man" -One who also knows a thing or two.

Average customer rating:

AMAZING!!!
A New Life? Maybe? But not a good one...
Um - Why?? Not the best recording
Hits and Misses- but where it Hits- Watch Out!!
I Miss the Show

Jekyll & Hyde Resurrection
Frank Wildhorn , Leslie Bricusse , and Rob Evan
Manufacturer: Koch Records
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music
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[title of show] (2006 Original Off-Broadway Cast)

ASIN: B000EGDNE0
Release Date: 2006-08-22

Tracks:

Prologue-I Need To Know
Take Me As I Am
Bring On The Men
This Is The Moment
Transformation
Alive
The Girls On The Night
If You Only Knew
Sympathy, Tenderness
Someone Like You
Once Upon A Dream
Reflections
The World Has Gone Insane
No One Knows Who I Am
It's A Dangerous Game
In His Eyes
The Way Back
A New Life
Confrontation
Epilogue: Once Upon A Dream

Customer Reviews:

AMAZING!!!.......2007-04-03

A new point of view for a Classic! The Broadway cast album is very good. The Anthony Warlow's is a masterpiece but this new record is a new and modern vision with an spectacular sound. Heavy metal & Rock and Roll on each song!!! Good performers and great sound. Thank you Mr Wildhorn...

A New Life? Maybe? But not a good one..........2007-03-18

I saw the U.S. concert tour version of Jekyll & Hyde with this cast in Las Vegas in 2005. I have to say that though I enjoyed the performance. It didn't stand out as the best concert ever. However, when the album came out, I bought it anyway hoping to have a souvenir of that particular concert.

The album consists of 3 main singers: Rob Evan as Jekyll/Hyde, Former Miss America Kate Shindel as Lucy and Brandi Burkhardt as Emma. All the cast are very talented and performed their hearts out but what is wrong here is probably the arrangement of the songs.

I have read somewhere that Frank Wildhorn, the show's composer, wanted J&H to be more of a rock musical. And that's why this concert version happened, to newly arrange all the song in a more rock 'n roll way. The feeling that I got from this CD is that this doesn't sound like a cast recording and it doesn't give you any feel of the musical or the characters they portrayed.

On the contrary, this is more like a compilation album of pop singers trying to sing J&H songs in their own styles. Still, most of the time the music overshadows the singer's voice especially the annoying sound of electric guitar. And the balance in music seems to never find its place.

For Broadway lovers, some of the changes here might be weird for you. "In His Eyes" changed from the Broadway showstopping duet to a pop-ish ballad with a soft ending, not the belting one. Emma became "Girls of the Night"?!?!?! That's kinda weird. "The Way Back" is weirdly out of tune with all the drums and electric guitars in the background. The rest range from mediocre to bad in terms of musical arrangement, at least to my opinion.

For the concert tour, a new song is added which is "If You Only Knew" sung by Emma. This comes out as a pop-ish kind of soliloquy which is fine but not outstanding. The newly arranged epilogue which is a reprise of "Once upon a Dream" sung by all 3 characters is fine and seem to be the nice ending for the production since there are only 3 characters in this version.

The booklet includes notes from the show composer and lyricist, thank you notes from the cast and producers, the lyrics to the new "If You Only Knew" along with some headshot photos of the lead singers.

This is definitely NOT a definitive recording of J&H. Get it if you want to try something new but don't put your hopes up too high. If you can't handle rock music, don't buy it at all. It will get on your nerves. Some of them did get on mine. If you have no idea about the show but interesting in getting a recording, I'd recommend either the Original Broadway Cast with Rob Cuccioli or the Complete Recording with Anthony Warlow. Observe that the Broadway cast is better polished as a whole with better Female leads but Anthony Warlow is the best Jekyll and Hyde and the complete version is, of course, more complete.

Um - Why?? Not the best recording.......2007-03-02

I was trying to figure out what to write in my review, but after reading other reviews, I pretty much echo the review by Steven Valenti here. I was, I thought, excited for a recording with Robert Evan having seen him on stage in the role of Jekyll/Hyde. While he has a great voice, this CD Recording just doesn't do it for me. I'll keep the double CD set of the Complete Works of Jekyll & Hyde playing on my CD player, thank you. I plan on seeing the show again in October 2007 - the touring companies have been great, putting together a complete show and not the "edited, changed" version done on Broadway. I still love Jekyll and Hyde. Did you hear the rumor, they are planning a musical movie, basically like they did with Phantom of the Opera. No casting yet. I'm gonna keep my ear open on the progess of the movie.

Hits and Misses- but where it Hits- Watch Out!!.......2007-02-23

Rob Evan's rendition of "I Need to Know" and "This is the Moment", Kate's "A New Life", as well as Bandi+Kate's rendition of "In His Eyes" are enough to pick this album up.

Kate's "Someone Like You" made me feel positively ignored by the lack of intensity.

Everything else is solid- but the tracks above will make you soar and itch for the upcoming movie adaptation (PLEASE PLEASE hire Rob Marshall to direct it!!)

I Miss the Show.......2007-01-29

I am a jekkie who loved this show on broadway and am very pleased that this cd is on the market. Rob Evan is in fine voice and the songs from all the versions of the show are wonderful. When it finished, I was ready to buy tickets all over again.

Enjoy

Average customer rating:

So f*cking Metal!
Chimaira = Pantera lite
YES!
Superb Thrash Metal - Best of 2007 (so far)
Why aren't they getting the recognition they deserve?!!!

Resurrection
Chimaira
Manufacturer: Ferret Records
ProductGroup: Music
Binding: Audio CD

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The Blackening
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ASIN: B000MNOXJ4
Release Date: 2007-03-06

Tracks:

Resurrection
Pleasure In Pain
Worthless
Six5, No Reason To Live6, Killing The Beast
The Flame
End It All
Black Heart
Needle
Empire

Customer Reviews:

So f*cking Metal!.......2007-07-11

I saw them at Sounds of the Underground yesterday at Orlando... the energy and power they brought to the stage was phenomenal. Before seeing them, the only song I had heard from them was "Resurrection" from this album, and I really liked it. Once I heard them play their set I was blown away and immediately went to the booths to pick up this CD (and a shirt).
After my first listen through of the album, I am eager to play it again and again. Aside from the self-titled track I am already addicted to, my next favorite would possibly be "Pleasure In Pain" for the dynamic range of vocals and brilliant guitar work.
Buy the CD and wear it OUT!

Chimaira = Pantera lite.......2007-06-22

These guys try so hard, but they are oh so average.
3 stars for effort and i still liked them live

YES!.......2007-05-24

This band is a breath of fresh air. It is great to see people can still play hard like this. The singer sounds like the guy from The Haunted in One Kill Wonder and Made Me Do It. I swear they are identical, wouldn't be surprised if they are related or the same exact singer. The raw heaviness and the blend of cool sounds like bells and synth melodies occasionally popping in make this a very interesting listen.
CHIMAIRA RULES!

Superb Thrash Metal - Best of 2007 (so far).......2007-05-18

The Resurrection (literally) of metal continues...

Chimaira has given us the most brutal metal release of 2007...

This thing is not only heavy, but fast...

Reminds me of the early Slayer and Kreator...

WOW is the best word to describe Resurrection...Excellent release...No, AMAZING!!!

Why aren't they getting the recognition they deserve?!!!.......2007-04-07

Chimaira has done it again, they've released an album that rips you to shreds and then stomps you flat! Like with their self titled album Chimaira, they've set a new standard for themselves and for the metal scene. Also, they've stayed true to their roots and at the same time experimented and tried new things.

The album starts off full blast with the title track "Resurrection," the pounding "Pleasure in Pain," followed by the crushing assault, "Worthless." Early Metallica comes to mind when they get more experimental with the 9 minute epic "Six." The solos are very memorable and its definitely much slower than their old work, well worth listening to . Then things get more intense with the thrash-like "No Reason To Live."

The second half of the album tends to slow down more, but picks up toward the end. The slowest song "Killing The Beast," is personally my least favorite song, I typically skip it, but listen to it once in a while. Mark Hunter experiments more vocally on this song, it works but not to the extent you'd expect from Chimaira (no "Salvation"-like screams here). Then the slightly faster "The Frame" ensues. Its a great metal song, but not up to Chimaira's standards. The last part of the song sounds similar to how "Inside The Horror" ends. Then things really pick up with "End It All." Andols Herrick's hammering drums are at full throttle throughout the song, especially during the chorus. It's then followed by the heavy "Black Heart," and the mind blowing "Needle." Herrick's drums on "Needle" alone should put Chimaira up for a Best Metal Performance Award. Then lastly, we get to "Empire." The orchestra work really gives it a dark, atmospheric sound. The lyrics give great depth:

Do you believe in me
Enough to sacrifice
Do you believe in me
Enough to end your life
.....
When you walk the path
You will discover a world undreamed of
Your suffering will be legendary
Do you believe in suffering

It took a couple listens to really have it sink in, but overall, this album is as powerful as their self titled effort. Except for two mediocre songs, "Resurrection" will definitely stand strong among 2007's best metal albums.

Dowland - The Collected Works / The Consort of Musicke, Rooley

Average customer rating:

A musical treasure-box
a beautiful journey into melancholy

Dowland - The Collected Works / The Consort of Musicke, Rooley
John Dowland , Anthony Rooley , Emma Kirkby , Christopher Wilson , The Consort of Musicke , Colin Tilney , Anthony Bailes , Jakob Lindberg , Nigel North , Glenda Simpson , Peter Holman , and John Donne
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Dowland: Complete Lute Works, Vol.1-5
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Britten Conducts Britten
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ASIN: B000004CYV
Release Date: 2007-03-13

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.

Customer Reviews:

Hunt-Lieberson and symphony's ending steal the show.......2006-12-27

I want to like this better than I do, as the good moments are truly great. But upon repeated listenings, once again, MTT finds spots to just suddenly slow down for no real or good reason. Here, it's in the scherzo; towards the end. In particular, there's a passage where Mahler makes it sounds as though time is standing still for a bit. Naturally, MTT feels that he has to exaggerate that which Mahler has already built into the music. It's so typical of what he's been doing in his on-going cycle. Also, slow and soft passages throughout the performance are, indeed, SLOW! If I'm not mistaken, MTT's finale stretches well beyond 35 minutes. And, as with his earlier SFSO recording of the Mahler third symphony, the second movement is somewhat faceless and prosaic. Too bad, because there are some other really fine things that happen here - the climax to the first movement being one of them. Not only does MTT nail that climax, but he also erases the awkwardness of the next moment by having the low strings jump right back with their fast, ascending flourishes - almost without any waiting. That's a brilliant interpretive touch. But then there's that faceless second movement, followed by the scherzo with the strange dragging of tempo, here and there. Too bad, because then we get Lorraine Hunt-Lieberson, who has graced this recording with possibilly the greatest vocal performance ever! In addition, the end of the symphony is quite thrilling; although, the organ sounds far stronger on the more natural sounding Blomstedt/SFSO M2 from Decca (as a trade-off, the alternating salvos of the percussion are stronger here).

In the final analysis, although the mezzo is nowhere as good, I just feel that the Blomstedt/SFSO M2 flows better from begining to end. I also like the stronger organ and firmer sounding chorus. MTT's strange tempo anomolies grow tiresome upon repeated listening too. If you want to hear darn near everything done right in this large and multi-faceted work, I recommend the recent Ivan Fischer/BFO Mahler 2nd on Channel Classics. If a more historical perspective is your interest, you can't beat Walter or Klemperer - especially his live stereo one from Munich with Janet Baker.

OH MY GOD!.......2006-06-19

I haven't written a review on this site in a really long time. But there are just some things that require coming out of exile.

The performance and recording of the massive work are massive, phenomenal. I have LOTS of recordings of this piece, and I've listened to each and every one of them LOTS and LOTS. Mahler is a God to me. He (and Bruckner) got me through my teenage-years... This performance is special. There is so much power, SO much beauty, SO much intensity, SO much care taken... I've never heard such ferocity (and irony, and agony, and ecstacy) in the first movement, such delicacy (and verve) in the second and third movements, and as for the last movement -- hot damn, son of a gun -- the things Michael Tilson Thomas does with it are just spectacular.

This is my favorite, my absolute favorite. Please give it repeated listenings. There are so many rewards in store for you.

Mahler 2-wow !!.......2005-10-24

This is one of the finest recordings of Mahler 2 ever!!! The interpretation is superb..very Bernsteinish (who singlehandedly brought Mahler back into the public eye on his recordings with the Vienna Phil) The only problem is that the recording is too soft for those of us who like to listen in the automobile...otherwise wonderful

Absolutely Thrilling.......2005-05-19

Michael Tilson Thomas's fifth Mahler recording with the San Francisco Symphony Orchestra in his series of the complete Mahler symphonies is just as wonderful and exciting as any Mahler performance can be. The second, commonly called the Resurrection Symphony, is the most successful of the first four symphonies in structure, clarity, and overall architecture. Unlike the unbalanced third and forth symphonies and the sometimes indulgent first, the second is strong in its architecture, powerful in its emotional scope, and wonderfully rich in its musical language. The second is Mahler's answer to death and resurrection, a powerful transition from minor to major, that, when well performed, is chilling in its emotional impact.

The symphony begins with an arresting funeral march in dark minor. The stirring of the low string in fff is frightening as they call together the whirling activity. The movement is in sonata form, with a double development, each capped of with terribly exciting climaxes. The lovely andante is calming in its gentle swing, but is still filled with the passion of the first movement. The enigmatic scherzo, with its wonderfully vertiginous orchestration, is a dark compilation of Jewish melodies. The lovely forth movement, with its wonderful vocal writing, acts as an introduction of sorts to the dramatic and gigantic finale. The finale is a vivid journey through darkness and adversity, leading to the wonderful glory drenched ending of the symphony.

There are few faults in this consistently splendid recording of the symphony. The San Francisco Symphony is in great form, delivering a performance congruous with Mahler's idiomatic sound world. The first movement begins with tremendous energy; the lower strings really dig into their parts with the necessary vehemence. Thomas's tempo is a bit slower than usual - however, he uses the tempo to judiciously draw out aspects of the score. At times, tension sags due to heavy rubatto, but overall, the good outweighs the bad: the orchestra really delivers a dark, rich sonority; the dichotomy between the dark and light episodes is accentuated effectively; the final climax before the recapitulation has never been bettered; and Thomas immediate transition into the recapitulation after the climax maintains a great deal of tension, eliminating the awkwardness of the moment. All in all, this is not only Thomas' best conception of a sonata-form movement within the cycle, but it also stands up handsomely to the competition, including Bernstein's recording on DG, which also suffers from slow tempos and slackening tension.

The second movement goes well enough. The strings sing their part warmly, offering a plush sound which is remarkably lovely - even if it is somewhat at odds with the rustic charm of the dance. Thomas indulges his penchant for rubato in excess ever so slightly - a tighter grip would have improved this otherwise wonderful movement.

The scherzo, however, hangs fire. There are too many wonderful moments here to highlight but of particular note are the droll clarinets, Thomas's wonderful transition into the trio, and the magnificent "cry of despair" which captures the all dread and intensity frighteningly well. The clarity of texture, not to mention the top-to-bottom perfection of ensemble, is a joy.

And then there is the Urlicht, one of the finest on disc, so faithfully performed by the late Lorraine Hunt Lieberson. Never has a voice so rich, so powerful, yet so sensitive graced this movement. She draws the text from the score masterfully, highlighting all the correct emotions, while imbuing the lied with a gravitas that never sounds forced. Thomas's sensitive accompaniment only adds to this gem, this brief dream before the onslaught of the finale.

The finale is uniformly spectacular, from the opening Bb minor outburst to the final "resurrection" in Eb. All offstage effects register with immaculate clarity, the various marches all embody the correct character, the orchestra really digs into their parts, delivering the vile sounds of purgatory with utmost character while expertly contrasting that with true visions of heaven. The entrance of the chorus is hair-raising and Hunt Lieberson is just as fine here as ever. Isabel Bayrakdarian, however, is a bit more problematic. Her small voice and quick vibrato do not suite the music well, keeping her vocal line stubbornly earthbound when transcendence is so necessary. However, her part is small and is easy to overlook when compared to the closing passages, where Thomas really creates a "resurrection." Expertly paced, perfectly balanced, and magnificently captured, the final passages are astoundingly powerful, carrying a great deal of tension and gravitas. Thomas may not revel in this music like Bernstein, who really plods through the final passages, but allows this conclusion to arrive naturally, creating a thrillingly satisfying close to this symphony. A magnificent installment in the ongoing series and a highlight in the discography of Mahler seconds.

On a side note, I think it is important to discuss the nature of the sound of the San Francisco Symphony in these recordings. The winds are quite lively, playful, at times even coquettish. The brass is rich, powerful, but not overbearing. The percussion, especially the bass drum and tam tam (wow), is astoundingly powerful. The strings have a bright sheen, but deliver some of their darkest timbres on disc here. Regardless, the real matter of interest in this recording is what is being said. Michael Tilson Thomas is quite well versed in Mahler and there is a profundity of incite here. There is no such thing as definitive when it comes to a Mahler performance. This recording, however, comes remarkably close.

The final performance was the greatest.......2005-03-05

I attended multiple performances of these recording sessions, and I can assure you that the final performance, the season finale Saturday night, was the greatest musical experience of my life. I was unable to move at the end of it. And I have all the definitive recordings of this symphony, which I consider second only to LvB9.

I have not heard this disc because I want to keep that memory pristine in my mind. The disc, I understand, was edited from several performances (and a member of the chorus told me there was a patch session after the last performance). I just hope they took much of it from Saturday...and I wish they allowed me to buy that performance (complete with the idiot making noise backstage in the 1st mov't) separately, so I could relive it.

I hope this disc is a shadow of what I experienced that night. I honestly have never heard MTT do anything even close to that, and I'm there all the time.

Average customer rating:

Another World
Yet another forgotten musical genius. Beautiful music
A Monument of Early Violin Music
An Inordinately Beautiful Recording of the Biber Mystery Sonatas
Hauntingly beautiful Baroque fare

Biber: The Mystery Sonatas

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Biber: Violin Sonatas
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Schmelzer: Unarum Fidium /Holloway * Assenbaum * Mortensen
Biber: The Rosary Sonatas

ASIN: B00005UNXG
Release Date: 2002-12-23

Tracks:

Praeludium
Aria And Variations
Adagio
Finale
Sonata
Presto
Allamanda
Presto
Sonata
Courente
Double
Adagio
Ciacona
Praeludium
Allamanda
Guigue
Sarabanda
Double
Lamento
Aria
Adagio
Allamanda
Variatio
Sarabanda
Variatio
Sonata
Presto
Guigue
Double I
Double II
Sonata
Courente
Doubles I & II
Finale
Praeludium
Aria
Variatio 1 - 2
Variatio 3 (Adagio)
Variatio 4 - 5

Tracks:

Sonata
Surrexit Christus Hodie
Adagio
Intrada
Aria Tubicinum
Allamanda
Courente
Double
Sonata
Gavotte
Guigue
Sarabanda
Praeludium
Ciacona (Aria)
Guigue
Sonata
Aria
Canzona
Sarabanda & Double
Passagalia

Customer Reviews:

Another World.......2007-03-29

Biber heartily embraced gypsy tavern violin virtuosity long before Dvorak or Brahms. This is magnificent music full of elegant and earthy contrasts. The sonatas that employ unconventional tuning open up new worlds of harmonic splendour, yet the crowning piece, the Passagalia, which does employ conventional tuning but isn't part of the Mystery Sonatas, is thankfully included as the final work of a two disc journey that soars the heights of heaven and plunges the depths of human experience. I have the original release of this music with its sumptuous and informative booklet: booklet or not, these are exceptional performances combined with an exceptional recording.

Yet another forgotten musical genius. Beautiful music.......2007-03-04

Heinrich Ignaz von Biber was a wonderful composer. The so-called "Mystery Sonatas" also known as the "Rosary Sonatas" have an aire of perfection rarely seen in classical baroque music. Biber has been all too conveniently forgotten and I am not sure why. As with Erik Satie (another of my favorite, yet unknown composers) Biber has managed to shrink in to the darkness of history while his legacy of work should be celebrated.
His work is haunting, exhilarating, enriching and somber. His music conveys a sadness and a joy that few musical works are able to convey. Biber's understanding of orchestration, the workings of instruments in compliment of each other, is astonishing to me. He had an ability, a gift, that only God himself could have given him. If you don't believe in God, then just accept that he was a prodigy of the finest degree and his work was sent from a deep place inside that immediately crawls inside of you. I, personally, call it a religious musical experience.
Absolutely stunning music.

A Monument of Early Violin Music.......2006-12-17

This version of Biber's stupendous ROSARY SONATAS (this is the more correct translation of the original German title) is marked first of all by the stunning virtuosity and graceful lyricism of violinist John Holloway. Simply to master the notes of these sonatas is an immense task in itself: playing scordatura is sort of like ventriloquism, since you are miming a certain set of notes while other notes are sounding. To have worked up these difficult pieces into an intensely expressive, dramatic experience, as Holloway has, is breathtaking. Then there is the variety of continuo instruments arrayed for each sonata. In various tracks we hear organ, harp, lute, violone, lirone (a gamba viol sounding to these ears somewhat like a harmonica) and regal (a small, portable organ with a rasping, nasal sound, used to great effect in the "Crowning with Thorns" sonata). Finally, the fact that this recording is priced far lower than any of the other major versions (Goebbel, Manze) makes it doubly attractive. I was disappointed by the scarcity of program notes, understandable given the budget price: we are not informed, for example, of the scordatura tuning of the individual sonatas, and I would have liked a more detailed discussion of the pictorial and symbolic elements used by Biber in the sonatas. However, the notes include a link to Virgin's website promising "a more detailed introduction".

Perhaps it's best not to take in this colossal work all at once. For a sampler, try tracks 14-15 of CD 2 (the "Assumption" sonata) and hear some of the most buoyant, joyous violin playing in existence. You'll be instantly mesmerized.

An Inordinately Beautiful Recording of the Biber Mystery Sonatas.......2006-09-22

Much can be written about the difficulty of this music form the 17th Century by Heinrich Ignaz Franz Biber - and other reviewers here have given superb descriptions of those complexities - but the end result of works such as this is in the response it produces in the listener.

Biber wrote these Mystery Sonatas to represent the three sets of mysteries from the Bible: the Birth, the Crucifixion, and the Resurrection of Christ. The recording is by Tragicomedia with Davitt Moroney and John Holloway in this impeccably performed recording of impossible music: the music is impossibly difficult to play and impossible not to draw and emotional response from the listener. Some may find this version a bit dry sounding, but for this listener that only enhances the other-worldly sense of the music.

The sixteen sonatas are named as follows: Part I: The Annunciation, The Visitation, The Nativity, The Presentation, The Finding in the Temple Part II: The Agony in the Garden, The Scourging of Jesus, The Crowing of Jesus with Thorns, Jesus carries His Cross, The Crucifixion Part III: The Resurrection, The Ascension, The Descent of the Holy Ghost, The Assumption of our Lady, The Crowning of the Blessed Virgin Mary, and Passacaglia. With the simplest combination of instruments Biber was able to elicit the feelings of each of these mysteries.

For those who love Period Music this recording is a complete success and a treasure to own. For those who have yet to step into this ethereal world, this is a very fine beginning. Highly Recommended. Grady Harp, September 06

Hauntingly beautiful Baroque fare.......2004-02-23

I own three versions of Biber's Mystery (Rosary) Sonatas, and a fourth recording (by Manze) of other Biber sonatas along with the famous passacaglia that concludes the set. All of the versions (the other two being by Rheinhard Goebel on Archiv and Suzanne Lautenbacher on VOX) are beautiful, because the music is. Perhaps the passacaglia is the most beautiful 8 to 12 minutes (depending on performer) in the entire musical library. I rate the Holloway version as the best in terms of the passacaglia. The pacing seems perfect (Goebel is fast and almost dancelike, Manze quite slow but with more flare) and is about the same as that of Lautenbacher, the latter being performed on a modern instrument with her usual good taste and limited vibrato. Certainly the Holloway version has the most delicious ending to the passacaglia, when the minor key resolves to a major that brings tears to my eyes every time I hear it. The Goebel and Manze versions both have a decorative flourish on the final note that, while beautiful, detracts in my opinion from the simple beauty of the key resolution. How two reviewers could give this recording only a single star is beyond comprehension! Even if one grants that Moroney is not as "lively" a harpsichordist as the performers on the other versions, my response is, "So what?" Maybe if you're a harspichord fanatic you drop the ranking from five stars to four, but the work is overwhelmingly a violin piece with harpsichord ACCOMPANIMENT. To downgrade the ranking of the entire recording to one star completely ignores the fantastic beauty, technical perfection, and haunting introspection of Holloway's performance on the violin. Besides, it's not as if Moroney actually is "incompetent." The descrition I would use is "tastefully understated, recognizing that this is primarily a violin recording." In contrast to the fun Goebel version and the good but more yeoman (yeoperson?) Lautenbacher version, Mr. Holloway plays with greater sensitivity but still with plenty of guts (not referring to the strings here) when drama or a discordant double-stop are called for. Again, ALL of the versions I've heard are great, and I'm tempted to buy yet another, but I always recommend the Holloway to my friends.

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