All The players

Track Listings

1. All The Players (Feat. Kerosene & Green efx)

2. Sykofunk (Feat. Sykorah)

3. Props

4. Discofunk

5. Die In This Love

6. Robot Santa

7. Puddle of Blood (Feat. Ekumcid & Da InformanT)

8. Gangsta Wayve (Feat. White Mike & Green EFX)

9. Slap Ass (Feat. Green EfX)

10. Hoes N'Doez (Feat. Kerosene & Green Efx)

11. Nocturnal SCIENCE

12. Give Up

Editorial Reviews
About the Artist
Four2one is a 19 year old rapper, singer, producer, and musician of over 12 different instruments. His material is ultra fresh.

Product Description
This is a remarkable album for anyone tired of hearing the same old stuff, but still craves quality music. Compare it the likes of Sublime, Outkast, Nine Inch Nails, Atmosphere & Poison the well. Music masterminded by a 19 year old star, Jimmy Byars.

Music of the American Revolution: The Birth of Liberty

Average customer rating:

Good overall
Great Music from the Birth of Our Nation
Protest Songs of the 1770s
Important work of musical heritage
A good source of enjoyment and education

Music of the American Revolution: The Birth of Liberty

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music
Similar Items:

The Spirit of '76 and Ruffles and Flourishes
Colonial America
Early American Roots
The World Turned Upside Down
The Civil War: Its Music and Its Sounds

ASIN: B0000030FQ
Release Date: 1996-07-09

Tracks:

The Brickmaker March - American Fife Ensemble
Lamentation Over Boston - The Continental Harmony Singers
March For The 3rd Regt. Of Foot, Lord Amherst's - The Liberty Tree Wind Players
British Grenadiers - American Fife Ensemble
Song On Liberty - Sherrill Milnes
General Scott's March - The Liberty Tree Wind Players
Junto Song - James Richman
Lovely Nancy - BIRTH OF LIBERTY
American Vicar Of Bray - Sherrill Milnes
Independence - The Continental Harmony Singers
March Of The 35th Regiment - The Liberty Tree Wind Players
Liberty Song - Sherrill Milnes
Lady Hope's Reel - American Fife Ensemble
Parody Upon A Well-Known Liberty Song - James Richman
March For The 76th Regiment - The Liberty Tree Wind Players
Warren - The Continental Harmony Singers
Stone Grinds All - American Fife Ensemble
The King's Own Regulars - James Richman
Washington's March - The Liberty Tree Wind Players
A Hymn On Peace - The Continental Harmony Singers

Customer Reviews:

Good overall.......2005-07-20

Technically a very clean album. It has a good selection of tunes, particularly for the history buff, however some of the polished choral pieces sound funny when you think that most of them are essentially folk tunes that should be sung with a somewhat less practiced air. Overall, worth the purchase for historical value and good production.

Great Music from the Birth of Our Nation.......2002-02-02

A great collection of music from 18th century America.

If you enjoy fifes and drums, choral compositions, patriotic songs, and uplifting music from the birth of America, please get this CD.

A perfect selection for a patriotic American to play, especially on the 4th of July.

Protest Songs of the 1770s.......2002-01-24

The music that was composed and performed during the American Revolution is presented on this 1 hour CD. Since I was a child, I've enjoyed hearing the drum and fife corps on the Fourth of July and during the Presidential inaugurations, and this CD has several good drum and fife marches. Other selections are 18th century protest songs about taxation ("A taxing we will go...} and British tyranny. There are also some good harpsichord numbers contained on this CD. The musicians are excellent and the sound is clear. I don't know how many common people got to hear music like this during the Revolution, but at least this CD gives the 21st Century listener the opportunity enjoy the "popular" music of 200 years ago. Classical music lovers will enjoy this CD too.

Important work of musical heritage.......1999-02-25

I fell in love with this CD from the first track.The music of the American Fife Ensamble is stirring, I felt positivly rebelious. The satarical songs based on the tunes "British Grenadires" and "Hearts of Oak" are like the paintings of W. Hogarth set to music. You should have more than a cursory knowledge of the 18th century though, to fully enjoy this CD

A good source of enjoyment and education.......1999-02-23

We will never know exactly how these songs sounded when the citizens of Boston were darting black looks to the British regulars on the streets, but I would wager quite a bit that these renditions come pretty close. Of course the "American" accents are an anachronism; but most listeners might be puzzled to hear British accents used for these anti-British songs (with one exception, composed by a British regular!)I have already used selections from this CD to a groups of 3rd and 5th graders and they loved it. So teachers, take note, but be sure they have the words in front of them. A very valuable educational tool that also happens to be a very enjoyable program to hear for its own sake. And as with most New World releases, the annotations alone are worth the price of the product.

Average customer rating:

***** - 8, 9, 10. There we go: 10 stars.
Brilliant, transcendent...
Stunning, incredible, beautiful, glorious, etc.
Thrilling Disc
Holy Grail of Lutheran Christmas Eve services

Mass for Christmas Morning
Paul McCreesh , and Gabrieli Players
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

General Christmas | Holiday | Miscellaneous | Styles | Music

Opera & Vocal | Holiday | Miscellaneous | Styles | Music

General Christmas | Holiday Music | Special Features | Music

Opera & Vocal | Holiday Music | Special Features | Music
Similar Items:

Luther: German Hymn Mass / Chorales
A Venetian Coronation 1595
Martin Luther & The Music
Psalms of the French Reformation
Venetian Christmas

ASIN: B0000057EH
Release Date: 1994-10-11

Tracks:

Christmas Mass: Processional: 'Christum wir sollen loben schon'
Christmas Mass: Introit: ' Puer natus In Bethlehem'
Christmas Mass: Kyrie (Missa: gantz Teudsch)
Christmas Mass: Gloria (Missa: gantz Teudsch)
Christmas Mass: Collect: 'Der Herr sei mit euch'
Christmas Mass: Epistle: 'So schreibt der heilig Propheten Jesajas'
Christmas Mass: Organ prelude: Praeambulum
Christmas Mass: Gradual hymn: ' Vom Himmel hoch da komm ich her'
Christmas Mass: Gospel: ' So schreibt der heilige Lukas'
Christmas Mass: Credo: 'Wir glauben all an einin Gott'
Christmas Mass: Organ prelude: 'Resonet in laudibus'
Christmas Mass: Pulpit hymn: ' Quem pastores laudavere'
Christmas Mass: Sonata: Padouana a 5
Christmas Mass: The Lord's Prager: 'Vater unser, der du bist im Himmel' - Words of Institution: 'Unser Herr Jesus Christus'
Christmas Mass: Sanctus motet: 'Jesaja dem Propheten das geschah'
Christmas Mass: Organ prelude: ' Wie schom leuchtet der Morgenstern'
Christmas Mass: Communion motet: Wie schom leuchtet der Morgenstern'
Christmas Mass: Comminion motet: 'Uns ist ein Kindlein heut geborn'
Christmas Mass: Post-Communion: 'Derr Herr sie mit euch'
Christmas Mass: Benediction: 'Der Herr segne dich und behute dich'
Christmas Mass: Final hymn: 'Puer nobix nascitur'
Christmas Mass: Organ voluntary: 'Nun lob mein Seel'
Christmas Mass: Recessional: 'In dulci jubilo'

Amazon.com essential recording

This exhilarating disc is arguably the most important record Paul McCreesh has made. Praetorius, the first great composer of Lutheran church music, wrote countless pieces based on popular Lutheran chorale tunes, ranging from simple harmonizations to flamboyant fantasias for multiple choirs with instruments. He also provided detailed instructions regarding various performance options--including ways to involve the congregation. Here, for the first time, McCreesh puts these instructions into practice, reconstructing an extravagant Christmas service. We hear elaborately scored Mass movements, simple harmonizations, the Creed (with Luther's own music), lusty congregational singing, and spirited organ improvisations. Many of the Christmas chorales Praetorius used are still well-known today, including Wachet auf (Sleepers wake) and In dulci jubilo, which gets a magnificent setting with trumpet-and-drum fanfares. --Matthew Westphal

Customer Reviews:

***** - 8, 9, 10. There we go: 10 stars........2006-11-19

i have had this recording for several years now. its the first one of mccreesh's i bought. and i bought it based solely on the exceptional reviews given here on amazon (4 or 5 at the time). it is unarguably pointless to write a review now, but i am going to anyway ;o).

As if you needed any further encouragement to buy this record...i will agree with all the preceding raves. i dont even mind the rackets and crumhorns and shawms, etc. - adds character. i would like to highlight one track here against the others: Puer Natus in Bethlehem. This one never gets old. such tremendous energy and powerful joy. i honestly have to wonder about the structural integrity of Roskilde Cathedral after the performance of this one piece. Nowhere else in all of his recordings is McCreesh's unparalleled talent illustrated. His scholarship, arrangement, and interpretation of this piece is a rare treasure of this genre. Considering another comparison with the Roland Wilson on Sony Vivarte release, yes, McCreesh's effort clearly has first place. Back to the entire recording, other standouts include the opening chorale - one of the most exotic and grabbing harmonies you will ever hear, the Quempas (although the cathedral acoustics do rob some of the subtle harmonies that really make this piece), and the final hymn Puer Nobis Nascitur: simple, but, again, infectious and addictive expression of the highest joy. I would also echo a previous reviewer's comment about the Roskilde organ. The tone and sonic capabilities of this instrument are simply astonishing.

Again, this review is unnecessary so far as selling is concerned, but the work represented here deserves many more. Go ahead and pick this one up, and give it the place of honor in your entire collection.

Brilliant, transcendent..........2006-11-05

I can only pile on to the other glowing reviews: this is a tour de force of choral and solo singing as well as instrumental color. With deference to Steven Guy (who's done yeoman's service in producing public-domain versions of some of this music!), I'd have to say I can gladly overlook the historical inaccuracy of using crumhorns, racketts etc. in exchange for the sheer sense of scale and awe that McCreesh provides. I own the Musica Fiata recording he mentions, and it's excellent--but it probably won't send 10,000 volts through your skull the way the massed choirs, ensembles and organ on this disc will.

Stunning, incredible, beautiful, glorious, etc........2006-02-07

After about the 3rd or 4th time I listened to this, I was absolutely enchanted. Now, having heard it 30+ times, I still hear new beauty each time. Really magnificent. Jesus Christ is glorified in this masterpiece. I get the sense of deep joy of the Reformation, being transported to Germany circa 1620. The singers sing with all their might about the glory of God, the grace of Christ, and the beauty of holiness - as if Christ has come into plain view after centuries of distortion. Buy it, listen, and enjoy a taste of heaven.

Thrilling Disc.......2005-06-17

This CD absolutely blew me away the first time I listened to it. I play it often and each time feel as though I have been transported to heaven. McCreesh really outdid himself on this recording. Right from the very beginning the listener is taken out of the 21st century and thrown back to a 17th century cathedral. Just close your eyes, forget where you are, and join the lovely processional that begins the Mass with Christus wir sollen Loben. Other great moments include: Quem Pastoris Laudevere, and Wie schoen leuchtet der Morgenstern. The crowning glory of this recording is the recessional: In dulci Jubilo. Complete with tympani, brass, choirs and congregation, this work does not exhibit "peaceful joy" rather exhilaration! I would highly recommend this CD to anyone interested in church and choral music!

Holy Grail of Lutheran Christmas Eve services.......2005-01-17

This recording of a 17th Century Lutheran Christmas service in all of its grandeur is simply a must-have for any Lutheran. The authenticity of the instrumentation, the language of the liturgy (Middle-High German and Latin), and the awesome power and emotion generated by combining these elements is almost overwhelmingly beautiful. Due to the nature of recording in a 13th Century cathedral (Roskilde Cathedral in Denmark), the single voice heard chanting Bible verses such as that of Christ's birth will require you to turn up the volume. However, when the choirs and the organ come to life, you will find out what your stereo system can really do. This is especially true on the last track, "In Dulce Jubilo."

Easily a five-star rating. If I could, I would give it ten stars. Musicians, religious scholars, and clergy alike will make this a cherished addition to their collections. This is what Christmas should be about. All those dainty "holiday" songs you hear every year are simply put to shame by this single CD.

Purcell: Odes for St. Cecilia's Day - Music for Queen Mary / Taverner Consort

Average customer rating:

Unrivalled recording......uncommon brilliance.
a voice teacher and early music fan
Excellent
No Bargain
Awesome! A high tenor paradise

Purcell: Odes for St. Cecilia's Day - Music for Queen Mary / Taverner Consort
Henry Purcell , Emma Kirkby , Charles Daniels , David Thomas , John Mark Ainsley , Michael Chance , Choir & Players Taverner Consort , Roger Covey-Crump , Michael George , Simon Grant , Paul Elliott , and Kevin Smith
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Kirkby, Emma | Divas | Opera & Vocal | Styles | Music
Similar Items:

Essential Purcell
Purcell: The Fairy Queen
Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll
Shakespeare Songs
Gabrieli · Monteverdi · Vivaldi - Venetian Church Music / Taverner Consort, Choir & Players · Andrew Parrott

ASIN: B00000J2Q8
Release Date: 1999-06-08

Tracks:

Music For Queen Mary: Symphony
Music For Queen Mary: Welcome To All The Pleasures
Music For Queen Mary: Here The Deities Approve - While Joys Celestial
Music For Queen Mary: Then Lift Up Your Voices
Music For Queen Mary: Beauty, Thou Scene of Love
Music For Queen Mary: In A Consort Of Voices
Music For Queen Mary: Man That Is Born Of A Woman
Music For Queen Mary: In The Midst Of Life
Music For Queen Mary: Thou Knowest, Lord
Music For Queen Mary: Symphony (Adagio - Allegro) - Adagio
Music For Queen Mary: Come Ye Sons Of Art
Music For Queen Mary: Sound The Trumpet
Music For Queen Mary: Come Ye Sons Of Art
Music For Queen Mary: Strike The Viol
Music For Queen Mary: The Day That Such A Blessing Gave
Music For Queen Mary: Bid The Virtues
Music For Queen Mary: These Are The Sacred Charms
Music For Queen Mary: See, Nature, Rejoicing
Music For Queen Mary: March
Music For Queen Mary: Thou Knowest, Lord
Music For Queen Mary: Canzona

Tracks:

Odes For St. Cecilia's Day: Symphony (Introduction) - Canzona & Adagio - Allegro - Grave - Allegro
Odes For St. Cecilia's Day: Hail! Bright Cecilia
Odes For St. Cecilia's Day: Hark! Hark! Each Tree
Odes For St. Cecilia's Day: 'Tis Nature's Voice
Odes For St. Cecilia's Day: Soul Of The World
Odes For St. Cecilia's Day: Thou Tun'st This World Below
Odes For St. Cecilia's Day: With That Sublime Celestial Lay
Odes For St. Cecilia's Day: Voluntary - In D Minor - Wonderous Machine!
Odes For St. Cecilia's Day: The Airy Violin
Odes For St. Cecilia's Day: In Vain The An'rous Flute
Odes For St. Cecilia's Day: The Fife And All The Harmony Of War
Odes For St. Cecilia's Day: Let These Amongst Themselves Contest
Odes For St. Cecilia's Day: Hail! Bright Cecilia
Odes For St. Cecilia's Day: With Rapture Of Delight - Hail! Bright Cecilia

Amazon.com essential recording

Andrew Parrott and his Taverner Consort, Choir, and Players have made some of the finest Purcell recordings to have appeared since the period-instrument revival began; unfortunately, most of those discs had been out of print for years. Happily, Virgin has reissued some of Parrott's best work on this reasonably priced two-for-one release. The performances aren't just exemplary, they're something of a landmark: in them Parrott pioneered the now-standard practice of using high tenors rather than falsettists on some of Purcell's low-lying "countertenor" parts. (One example is "Sound the trumpet," a duet for "high" and "low" countertenors from Purcell's ode Come, ye sons of art, sung by falsettist Timothy Wilson and high tenor John Mark Ainsley.) Excellent performances of the Funeral Sentences and Funeral Music for Queen Mary are here as well, but the centerpiece of this set is Hail, bright Cecilia!, the longest and most colorful of Purcell's odes in praise of the patron saint of music. There is some serious competition here--Paul McCreesh and Philippe Herreweghe have made superb recordings of this work--but Parrott edges them out. For example, alone among the ode's conductors on record, Parrott interpolates an organ solo amidst all of the text's praise of the organ (an instrument St. Cecilia was thought to have invented); he also provides appealing variety by using 12 different soloists (as Purcell did at the premiere). Those soloists are an impressive lot--they include Emma Kirkby, David Thomas, Paul Elliott and Charles Daniels (gently enchanting in the tenor duet "In vain the am'rous Flute"), and the Hilliard Ensemble's Rogers Covey-Crump, who gives an extraordinary rendition of the famous and fearsomely difficult air "'Tis Nature's Voice." --Matthew Westphal

Customer Reviews:

Unrivalled recording......uncommon brilliance........2006-11-24

The mind boggles when listening to Purcell. Certainly his was a genius that could vie with any great contrapuntist. It is sad that he had to go so early in his life. But then I guess we wouldn't have seen the rise and rise of Handel.

Having said that, this recording is a marvellous one, one of uncommon brilliance I might add. It does not represent a summary of his work and style, even if restricted to just his vocal music, such was the originality and fertility of his invention. But it is revealing of the enormity of his command of music. Why this composer isn't as well-known as Mozart or Bach, or yes even Handel, I will never know.

I assure all that the quality of these recordings is unrivalled. Careful attention is paid to detail, and a first-rate line up of soloists ensures a world-class performance. I give this recording 5 stars out of five, for a stunning example of excellence and high standards.

a voice teacher and early music fan.......2006-07-29

This is a 2 CD package which involves 2 different recording dates and recording groups. Disc l: Odes "Welcome to all the Pleasures"-"Funeral Sentences"-"Come Ye sons of Art"-"Funeral Music for Queen Mary". The singers on this disc are:Emily Evera(soprano),Timothy Wilson (countertenor),John Mark Ainsley(tenor),Charles Daniels (tenor) and David Thomas (bass). It was recorded in 1988, Disc 2: ode "Hail Bright Cecelia" with singers Emma Kirkby (soprano),Michael Chance , Kevin Smith (countertenors),Paul Elliot, Neil Jenkins, Andrew King (tenors)and Michael George, Richard Wistreich (basses).This disc was recorded in 1985.Contrary to Westphal's opinion, I do not like tenors to be given solos that should be sung by countertenors; the quality of the tenor voice is not light enough for these tunes. Also Disc 1 has it over disc 2 in quality because the singers are better balanced as to skill than on Disc 2; this is most unfortunate because the better soprano (Kirkby) and the better countertenor (Chance)are on Disc 2. I absolutely do not like the sound of Kevin Smith's voice; it is "edgy" and lacks warmth. In fact, it detracts from whatever he sings on the Disc. There are a lot better recordings of these odes by other conductors; try them if you have no recordings of these at all.

Excellent.......2005-12-01

This is an excellent set of performances of these Purcell gems. The soloists, choir, and instrumentalists are all first rate. The infrequently performed funeral and birthday music for Queen Mary is a real treat. Recommended strongly.

No Bargain.......2004-01-23

I agree with the Editorial Review and the comments posted with this release. These are superb recordings of Purcell's great works. But there is a big problem with this package. This is a Virgin Veritas x2 pack. The original recordings have been bundled up in a space saving jewel case and sold at half the price of the originals. Unfortunately, this comes at cost to the potential buyer. Gone is the original artwork, gone are the original notes by Richard Luckett and Eric Van Tassel, and most seriously, gone are the lyrics of these great works. Unless you already own versions of these works that have the lyrics, this is not the place to start. I strongly urge you to acquire these wonderful works in their original editions from Virgin: Hail! Bright Cecilia on disc #45160 and Come ye sons of art on disc #45159 (for some reason, Amazon has these listed under the label EMI). This release is no bargain.

Awesome! A high tenor paradise.......1999-07-22

What a wonderful recording! The lineup of soloists is simply stunning. There are many of them: practically a different person for each air. This achieves admirable variety, and each voice is a pleasure to hear. I'm a big fan of hautes-contre, so I was really happy to discover that they get to sing most of the "alto" airs on this set. The highlight of this recording is my all time favorite Purcell air 'Tis Nature's Voice, stunningly sung here by Rogers Covey-Crump. I think I've heard just about every 'Tis Nature's Voice ever recorded (except for Rene Jacobs, who I wouldn't really want to hear), and Covey-Crump undeniably gets the most out of it. But my favorite remains Mark Padmore on the Herreweghe recording of Hail! Bright Cecilia. Herreweghe uses fewer soloists (Padmore sings all tenor and half of all countertenor parts), and slower tempi that, in my view, help the singers' intonation. But all in all, the choice ends up being a matter of taste. There is no rational basis to prefer one of these two recordings over the other: both are wonderful.

Hamlet: Original Motion Picture Soundtrack (1996 Film)

Average customer rating:

Hamlet sound track - Patrick Doyle
Beautiful masterpiece!!
Fantastic collaborations
Patrick Doyle's finest score
sudhir

Hamlet: Original Motion Picture Soundtrack (1996 Film)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Classical | Styles | Music

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

Movie Scores | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Henry V: Original Soundtrack Recording (1989 Film)
Much Ado About Nothing: Original Motion Picture Soundtrack
William Shakespeare's Hamlet (Two-Disc Special Edition)
Mary Shelley's Frankenstein: Original Motion Picture Soundtrack
Sense and Sensibility: Original Motion Picture Soundtrack (1995 Film)

ASIN: B0000029V8
Release Date: 1996-12-10

Tracks:

The Original Motion Picture Soundtrack Of 'Hamlet': In Pace
The Original Motion Picture Soundtrack Of 'Hamlet': Fanfare
The Original Motion Picture Soundtrack Of 'Hamlet': 'All That Lives Must Die'
The Original Motion Picture Soundtrack Of 'Hamlet': 'To Thine Own Self Be True'
The Original Motion Picture Soundtrack Of 'Hamlet': The Ghost
The Original Motion Picture Soundtrack Of 'Hamlet': 'Give Me Up The Truth'
The Original Motion Picture Soundtrack Of 'Hamlet': 'What A Piece Of Work Is A Man'
The Original Motion Picture Soundtrack Of 'Hamlet': 'What Players Are They'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Out Out Thou Strumpet Fortune'
The Original Motion Picture Soundtrack Of 'Hamlet': 'To Be Or Not To Be'
The Original Motion Picture Soundtrack Of 'Hamlet': 'I Loved You Once'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh, What A Noble Mind'
The Original Motion Picture Soundtrack Of 'Hamlet': 'If Once A Widow'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Now Could I Drink Hot Blood'
The Original Motion Picture Soundtrack Of 'Hamlet': 'A Foolish Prating Nave'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh Heavy Deed'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh Here They Come'
The Original Motion Picture Soundtrack Of 'Hamlet': 'My Thoughts Be Bloody'
The Original Motion Picture Soundtrack Of 'Hamlet': 'The Doors Are Broke'
The Original Motion Picture Soundtrack Of 'Hamlet': 'And Will 'A Not Come Again?'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Alas Poor Yorick'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Sweets To The Sweet - Farewell'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Give Me Your Pardon Sir'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Part Them They Are Incensed'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Goodnight, Sweet Prince'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Go Bid The Soldiers Shoot'

Customer Reviews:

Hamlet sound track - Patrick Doyle.......2006-03-10

I spent a lot of time trying to get hold of this CD but I must say I am mildly disappointed. I thought Patrick Doyle's music for Branagh's Henry V was brilliant and that was why I was determined to obtain this sound track as well. Henry V is not Hamlet in terms of theme and plot but I think the music here tends to be too low key and lacking in drive, unlike Henry V. It is still very good in places and clearly the work of an excellent composer, but not quite up to Doyle's previous standard.

Beautiful masterpiece!!.......2002-02-22

Patrick Doyle has truly composed an awesome piece of work. The score is so well done that you can feel the emotion coming through the music alone. This is by far my favorite soundtrack and I listen to it quite often.

Fantastic collaborations.......2001-06-12

Doyle fans are aware that he collaborates regularly with actor/director, Kenneth Brannagh. With the Hamlet score, he again writes powerful complementary music which also stands alone as worthy to be performed in concert. I would be interested to hear lengthier tracks such as accompanied the lengthy, but indeed beautiful and patient, movie. (The only mistake was Billy Crystal in the movie. I thought Robin Williams did fine work.) Although, I confess, this is my least listened to in my soundtrack collection, I do enjoy it, and believe it deserves accolades.

Patrick Doyle's finest score.......2000-06-26

This is certainly one of my top 3 Patrick Doyle scores and a towering achievement. The score unfolds like a great romantic symphony encompassing several moods from serenity and inner peace ("In Pace"), to violence and lush gothic undertones ("The Ghost", "Now, could I drink hot blood"), and a finaly sense of joyous celebration ("Fanfare", "What Players are they?"). After listening constantly to Mr. Doyle's scores for "Henry V", "Much ado about nothing" and "Frankenstein", I thought he could never top such achievements and somehow he did: "Hamlet" is a masterpiece of thematic inventiveness and dramatic power. The playing is wonderful and the engineering is very clear, taking full advantage of Air Lyndhurst's glorious acoustics. If you are a fan of british classical music or a Shakespeare fan (or even better, a fan of Patrick Doyle), don't pass up this CD. Great film music. No: great music. Period!

sudhir.......1999-12-02

the movie album is very good .and kate in the movie is very beatiful and she looks very good

Average customer rating:

somewhat disappointing
A Very Good Opus 8
A Bargain and Then Some
Probably the best one on the market
Disappointing interpretation

Vivaldi: Concertos Op.8

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Mozart: Violin Concertos
C.P.E. Bach - Hamburg Concertos / Melante Amsterdam · Bob van Asperen
Bach: Violin Concertos
Bach: Brandenburg Concertos / Orchestra of the Age of Enlightenment
Geminiani: Concerti Grossi (after Corelli Op 5) /AAM * Manze

ASIN: B000031WJ9
Release Date: 2000-04-11

Tracks:

Concerto No. 1 'La primavera' rv 269 in E major. E-dur. en mi majeur: I Allegro
Concerto No. 1 'La primavera' rv 269 in E major. E-dur. en mi majeur: II Largo
Concerto No. 1 'La primavera' rv 269 in E major. E-dur. en mi majeur: III Allegro
Concerto No. 2 'L'estate' rv 315 in G minor. g-moll. en sol mineur: I Allegro non molto
Concerto No. 2 'L'estate' rv 315 in G minor. g-moll. en sol mineur: II Adagio - Presto
Concerto No. 2 'L'estate' rv 315 in G minor. g-moll. en sol mineur: III Presto
Concerto No. 3 'L'autunmo' rv 293 in F major. F-dur. en fa majeur: I Allegro
Concerto No. 3 'L'autunmo' rv 293 in F major. F-dur. en fa majeur: II Adagio molto
Concerto No. 3 'L'autunmo' rv 293 in F major. F-dur. en fa majeur: III Allegro
Concerto No. 3 'L'autunmo' rv 293 in F major. F-dur. en fa majeur: I Allegro non molto
Concerto No. 3 'L'autunmo' rv 293 in F major. F-dur. en fa majeur: II Largo
Concerto No. 3 'L'autunmo' rv 293 in F major. F-dur. en fa majeur: III Allegro
Concerto No. 5 'La tempesta di mare' rv 253 in E flat major. Es-dur. en mi bemol majeur: I Presto
Concerto No. 5 'La tempesta di mare' rv 253 in E flat major. Es-dur. en mi bemol majeur: II Largo
Concerto No. 5 'La tempesta di mare' rv 253 in E flat major. Es-dur. en mi bemol majeur: III Presto
Concertos No. 6 'Il piacere' rv 180 in C major. C-dur. en ut majeur: I Allegro
Concertos No. 6 'Il piacere' rv 180 in C major. C-dur. en ut majeur: II Largo
Concertos No. 6 'Il piacere' rv 180 in C major. C-dur. en ut majeur: III Allegro
Concerto No. 7 rv 242 in D minor. d-moll. en re mineur: I Allegro
Concerto No. 7 rv 242 in D minor. d-moll. en re mineur: II Largo
Concerto No. 7 rv 242 in D minor. d-moll. en re mineur: III Allegro

Tracks:

Concertos No. 8 rv 332 in G minor. g-moll. en sol mineur: I Allegro
Concertos No. 8 rv 332 in G minor. g-moll. en sol mineur: II Largo
Concertos No. 8 rv 332 in G minor. g-moll. en sol mineur: III Allegro
Concertos No. 8 rv 332 in G minor. g-moll. en sol mineur: I Allegro
Concertos No. 8 rv 332 in G minor. g-moll. en sol mineur: II Largo
Concertos No. 8 rv 332 in G minor. g-moll. en sol mineur: III Allegro
Concerto No. 10 'La caccia' rv 362 in B flat major. B-dur. en si bemol majeur: I Allegro
Concerto No. 10 'La caccia' rv 362 in B flat major. B-dur. en si bemol majeur: II Adagio
Concerto No. 10 'La caccia' rv 362 in B flat major. B-dur. en si bemol majeur: III Allegro
Concerto No. 11 rv 210 in D major. D-dur. en re majeur: I Allegro
Concerto No. 11 rv 210 in D major. D-dur. en re majeur: II Largo
Concerto No. 11 rv 210 in D major. D-dur. en re majeur: III Allegro
Concerto No. 12 rv 178 in C major. C-dur. en ut majeur: I Allegro
Concerto No. 12 rv 178 in C major. C-dur. en ut majeur: II Largo
Concerto No. 12 rv 178 in C major. C-dur. en ut majeur: III Allegro
Concerto for Violin, Cello, and Strings rv 546 in A major. A-dur. en la majeur: I Allegro
Concerto for Violin, Cello, and Strings rv 546 in A major. A-dur. en la majeur: II Andante
Concerto for Violin, Cello, and Strings rv 546 in A major. A-dur. en la majeur: III Allegro
Concerto for two violins rv 516 in G major. G-dur. en sol majeur: I Allegro Molto
Concerto for two violins rv 516 in G major. G-dur. en sol majeur: II Andante (molto)
Concerto for two violins rv 516 in G major. G-dur. en sol majeur: III Allegro

Amazon.com

These days it's fashionable among Baroque music aficionados to say that only the young Italian groups like Il Giardino Armonico have the flair and imagination to make Vivaldi's concertos sound exciting instead of routine. Well, it isn't necessarily so. The Four Seasons is surely as overexposed as classical music can be, yet the UK-based Raglan Baroque Players and the gifted violinist Monica Huggett make enchanting and even exciting music out of it. Their playing is clean, energetic, and rhythmically supple--granted, they don't go to the astonishing extremes of tempo you sometimes hear from Rinaldo Alessandrini and Concerto Italiano, but they're a long way from "sewing-machine Baroque." Dynamics are another matter: Huggett, in particular, plays daringly softly at times--and her courage pays off, drawing a listener close as if to hear her whisper secrets. (It was brave also of Virgin's recording engineers not to pump up the volume electronically.) Along with The Four Seasons, this two-for-one budget reissue includes the other eight concertos that Vivaldi published in his collection Il cimento dell'armonia e dell'inventione ("The Contest Between Harmony and Invention"). Huggett and her colleagues play them with verve, but to these ears, at least, most of those remaining concertos don't have the same inventiveness and spark as their more famous counterparts. (Concerto No. 10, "The Hunt," is engaging, however, as are the double concertos that round out the second disc.) This release is an excellent value, although you probably shouldn't listen to it all in one sitting. --Matthew Westphal

Customer Reviews:

somewhat disappointing.......2007-06-22

Monica Huggett is certainly a highly accomplished violinist, however, her & the Raglan Baroque Players vision of Vivaldi's op.8 concertos is just not to my taste. Theirs is a legitimately bouyant, lighthearted approach to this uplifting music, yet the treatment seems to be so bouyant as to be almost weightless. One of the primary culprits here? The tempi, which are invariably too fast.

It almost goes without saying that the Raglan Baroque Players are technically flawless (almost to a fault, as they seem to play too effortlessly, if such a thing can be imagined), but their approach simply does not fully communicate the spirit of Vivaldi.

A Very Good Opus 8.......2007-02-15

Some few ago I decided not to buy any more four seasons/ opus 8, but I was reminded of this CD, recorded in 1986, when looking for more Raglan Baroque recordings after being very pleased with their Locatelli Opus 1. At the price I had to have it. It follows their 1986 recording of Vivaldi's opus 9, La Cetra,(see my review), and is another excellent, even better, recording. The concertos, certainly the first 5, are very familiar and of the highest standard. There are very many recordings of the Four Seasons, but this is not just another one, its top rate. Huggett does not try to dominate the performance, she plays with Raglan Baroque, not over them, the music flows beautifully. As with opus 9, a lute has been used in the continuo, which adds a lushness to the sound, I would have liked to hear more of it. The two unpublished concertos which have been added to fill the CD are certainly worth listening to, particularly the one for two violins. I compared this recording with a 1993 one by Manze with Amsterdam Baroque and found Manze's tone a bit harsh and his playing a bit dominant. Fabio Biondi's version was based on manuscripts that showed how these works might have been played by a virtuoso of the time, they are highly ornamented and dramatic, great to listen to but difficult to compare, you love them or hate them. ( I love them in small doses)
I can highly recommend Monica Huggett and Raglan Baroque's version of Vivaldi's opus 8.

( An aside on the price; many years ago when I first started work I bought the occasional 12in LP of Beethoven etc, they cost 52% of my weekly wage, this double CD cost 3% of my weekly superanuation, and that includes overseas postage. We've never had it so good ! )

A Bargain and Then Some.......2002-06-04

If all you know of Vivaldi's "Il cimento dell'armonia e dell'inventione" are the concertos called "The Four Seasons," then you know the essential Vivaldi contained therein. Concerto No. 5, "La Tempesta di mare," known in other incarnations is pleasing, as are the interesting concertos for violin and cello and two violins. But Vivaldi lavished all his poetry on "The Four Seasons." In these performances, the poetry emerges with great verve, and both soloist and conductor lavish such care on Vivaldi's clever tone painting that it is like hearing the thrice-familiar works for the first--oh, well, let's say the second time! You hear more detail the second time around anyway, as you will here.

With fine sound and a price that is less than many a mid-price CD of "The Four Seasons" alone, this is a great bargain for my money--or anybody's money, I'd guess.

Probably the best one on the market.......2000-09-27

I spent almost a year trying to track this CD down, before this 2 disc dirt cheap re-release. Wish I'd waited longer, as I ended up with a single disc instead of the full Op. 8. It was worth the effort though, as this is an incredible interpretation of an over-heard work. While I personally find much of Il Giardino Armonico's (now out of print) performance to be absolutely incredible, The Raglan Baroque and Monica Huggett perform a more subdued, but almost as equally stunning rendition. I think the manner in which they play with rhythm is particularly engaging, and often quite subtle.

This release does not contain the all-important poetry that accompanies the four seasons, which is unfortunate. Track down those words because they really enrich your experience with the music, and Huggett's performance in particular. You can hear that she was paying attention to these words, and to the specifically programmatic nature of these works. This attention to detail comes through and speaks highly of the performances throughout. The liner notes do not list the players, either, but Kraemer uses an archlute for continuo. The recording was made in 1988, and apparently was the first one to do so.

For a solid, more traditional performance, I'd recommend Pinnock and The English Concert. If you can, track down the Il Giardino Armonico performance (on Teldec), but otherwise pick up this great bargain.

Disappointing interpretation.......2000-08-11

I was very disappointed by this recording of "Il cimento dell'armonia e dell'invenzione" because Nicholas Kraemer gave a romantic interpretation to these concertos, in particular to the four seasons. Sometimes in the solo passages the tempo becomes slower than in the "tutti" : THESE CHANGEMENTS ARE NOT MARKED BY VIVALDI (I can say it because I have the full score of these concertos). However Monica Huggett (the solo violin) and the orchestra are very good.

Average customer rating:

The String Quartet Tribute to Dido

Manufacturer: Vitamin Records
ProductGroup: Music
Binding: Audio CD

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No Angel
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The String Quartet Tribute to Queen

ASIN: B0001GOH66
Release Date: 2004-03-30

Tracks:

Thank You
Sand In My Shoes
Don't Leave Home
White Flag
Hunter
Here With Me (Theme From 'Roswell')
Life For Rent
Don't Think Of Me
All You Want
Take My Hand
I'm No Angel
Trans-Global Express

Product Description

Tracks:

Hip hug-her - Bill Payne, Rob Gusevs
High Heel Feat - Michael Fonfara, Bill Payne, Richie Hayward
Steel Onions - Doug Riley, Michael Fonfara
Life Is A Carnival - Denis Keldie, Bill Payne
Gimme Some Lovin - Denis Keldie, Michael Fonfara
Burning at The Stake - Michael Fonfara, Rob Gusevs
Apricot Brandy - Michael Fonfara, Rob Gusevs
King Harvest - Richard Bell, Denis Keldie
Drown I n My Own Tears - Doug Riley, Bill Payne
Hush - Denis Keldie, Rob Gusevs
All About My Girl - Doug Riley, Bill Payne
One Love - Denis Keldie, Rob Gusevs
Magic Carpet Ride - Michael Fonfara, Lance Anderson
Big Chief - Denis Keldie, Lance Anderson

Album Description

2 Rockin' Hammond B3 organs played by seven of North America's premiere players. 13 instrumental arrangements of classic Blues,Jazz and Soul organ standards. Featuring Doug Riley, Bill Payne, Michael Fonfara, Denis Keldie Richard bell and Richie Hayward on drums. 71 minutes of wailing B3 organ duets. An old fashioned 'cutting' session Engineered by Nick Blagona (Deep Purple)

Customer Reviews:

A "Must Have" for B3 Afficionados!.......2002-01-18

I thoroughly enjoyed this collection of recordings featuring some of the great "lesser known" B3 players of the day. These are the guys who man the studios and play behind the bands, but generally do not have the name recognition of a Jimmy Smith or a Joey Defrancesco. It is about time they got the opportunity to show off their "stuff" on their own CD! Each track features at least two of the organists playing in a "summit" format, swapping solos and trading licks. The tunes covered appear to have been selected for maximum punch. No longhair jazz or extended avante garde solos here. This is real in-your-face music, designed to keep the party going all night long. While the "power" of the music is the recordings primary appeal, it is also what keeps the CD from the ranks of the great B3 recordings. The songs lean towards the "lowest common denominator" side of things. They tend to lack the "subtlety" and "grace" which I believe are hallmarks of the "all-time-great" B3 recordings. Not that I don't enjoy an "all-of-the-drawbard-all-the-way-out" tune as much as the next guy. However, the B3 also has a "soft side," which is generally absent on this recording. That being said, this is a GREAT CD, and should be part of every B3 enthusiast's collection.

Average customer rating:

New Standards For Flatpicking Guitar
Various Artists
Manufacturer: FGM Records
ProductGroup: Music
Binding: Audio CD

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Flatpicking Favorites: Hot & Spicy

ASIN: B0001GNJ74
Release Date: 2000-02-20

Tracks:

Delaware Tan (David Grier & Tim Stafford)
Upside Down and Backwards (Jeff White & Jim Hurst)
Jibaro Hoedown (Eric Thompson & Jim Nunally)
Song for Emily (Kenny Smith & David Grier)
Chestnut Flats (Tim Stafford & James Shelton)
Zobern (Jim Hurst & Curtis Jones) / Brittlebrush (Peter McLaughlin & Scott Nygaard)
Mt. Dora Waltz (Jeff White & Bryan Sutton)
North Fork of the Hulston (James Shelton & Chris Jones)
Winslow (Scott Nygaard & Eric Thompson)
Jordan's Reel (Wyatt Rice & Kenny Smith)
Wit's End (Chris Jones & Brad Davis)
Gloria's Waltz (Jim Nunally & Peter McLaughlin)
Velvet Hammer (Brad Davis & Wyatt Rice)
Django & Al (Curtis Jones & Bryan Sutton)

Album Description

In September of 1999 Flatpicking Guitar Magazine began producing an instructional audio CD to accompany each issue. In preparation for the first audio CD we recorded Kenny Smith and Curtis Jones playing a duet on the tune "Angeline the Baker" for the September/October 1999 issue. After listening to Kenny and Curtis play this tune together I realized the incredible beauty and power the sound of two acoustic guitars played in duo contained and the idea for New Standards was born.

In preparation for this project I contacted fifteen of today's most talented acoustic guitar players and asked each to compose an original tune for this CD. I asked that the tune take advantage of the special characteristics of the guitar. I wanted guitar tunes, not fiddle tunes or banjo tunes played on the guitar. I also asked that the tune be something that would be appropriate for a guitar duo. I paired the players together taking into consideration their unique playing styles and the logistical challenges of getting each pair in the studio together. All songs were recorded live with the exception of "Brittlebush."

Amazon.com

Lambert (1905-1951) was born in Britain the same year as Rawsthorne and Tippett, but his music couldn't be more different. Lambert was drawn to popular culture (jazz in particular) and his music fairly pops with its influence. The Concerto for Piano and Nine Players (1924) is filled with heady jazz rhythms and is more American than British. Also of note here is the Eight Poems of Li-Po, a youthful work influenced by the ballet of Diaghilev with the eight poems put to chamber ensemble and tenor. Philip Langridge is the tenor here and his voice has the just the right charm to it. --Paul Cook

Customer Reviews:

A Very Fine Cross-Section of Lambert's Chamber Music.......2005-01-07

I'm a little surprised that there has been no review of this now-ten-year-old disc heretofore at Amazon. It's an essential collection of chamber music from the pen of one of that remarkable generation of British musicians born just after the turn of the 20th century. Constant Lambert was born the same year as Michael Tippett and Alan Rawsthorne, 1905. He was a prodigy and two of the pieces here ('Mr Bear Squash-You-All-Flat' and 'Eight Poems of Li-Po') were composed before his twentieth birthday. To later generations he has probably been best known for his trenchant book about modern music, 'Westward, Ho!' (1934) which contains some remarkably sound, even prescient, judgments about trends in music of the time. He was a musical jack-of-all-trades, functioning as composer, pianist, conductor, music administrator, educator, writer and impresario. Surely, though, posterity will remember him primarily as a composer of original and elegantly crafted music that incorporates jazz elements into a neo-classic style that is uniquely his. Those characteristics are present in the works presented here although one can detect a maturation and solidification of his personal style as one moves from the very early 'Mr Bear' (1924) to the latest piece here, the Piano Concerto (1931).

'Mr Bear Squash-You-All-Flat' lay unperformed until 1979, 55 years after it was written, for reasons that are not clear. It was then put on by music students at the Royal Northern College of Music in Manchester and until this recording that was its only prior exposure. It is a trifle, to be sure, but certainly worth hearing. It is rather like Walton's contemporaneous 'Façade,' that famous, even notorious, chamber piece with spoken poetry. (It is of note that Lambert was a friend of Walton's and the Sitwells' and actually performed as 'Speaker' in a presentation of 'Façade' in 1926.) 'Mr Bear' is scored for eight players--flute doubling piccolo, clarinet, bassoon, trumpet, trombone, piano and two percussionists. The spoken text is supposedly based on a Russian folk tale (although a precise source for it has never been found) which is rather a shaggy dog (or bear) story that frankly is a little tiresome. Nigel Hawthorne, that wonderful actor probably known best to Americans from the BBC series, 'Yes, Minister,' does as fine a job as one could ask with the narration, although he does tend to chew the curtain a bit. The music could easily stand on its own, and my guess is that future performances might very well dispose with the narration. There is some indication that Lambert intended the music to accompany a ballet and frankly one suspects it might work better that way, with the narration translated into dance. One last thought about it: I kept being reminded not only of 'Façade' but also of Stravinsky's 'L'Histoire du Soldat,' not least because of Lambert's incorporation of ragtime rhythms and bluesy harmonies.

Two years after Lambert had written 'Mr Bear,' he began composing 'Eight Poems of Li-Po.' That Chinese poet had inspired music from such disparate composers as Mahler ('Das Lied von der Erde') and Arthur Bliss ('The Woman of Yueh'). These eight pieces take up only fourteen minutes, being very brief settings of Li-Po's terse, evocative and coolly distanced poems about nature, nostalgia and lost love. Written when Lambert was in thrall to the American silent movie actress Anna May Wong and dedicated to her, they convey a restrained passion that ends with 'The Long-Departed Love,' which acknowledges the impossibility of his love. Miss Wong, a third-generation Chinese-American from California who was more flapper than mysterious Chinese seductress and who chewed gum and spouted American slang, would have been amused, I suspect, at Lambert's musical love letter. Nonetheless, these are exquisite settings of exquisite poetry whose restraint and delicacy make them all the more effective. The singer is Philip Langridge whose diction and ability to convey musical line are perfect for these songs. The instrumental accompaniment is scored for flute, oboe, clarinet, string quartet, and double bass, with addition of bassoon and percussion for the latter three songs. The writing is evocative and delicate, showing to advantage Lambert's extraordinary ear for instrumental atmosphere.

The 'Piano Sonata' dates from 1929 and is in three movements. It is written in jazzy rhythms and bluesy harmonies, reminding one at times of Gershwin, Milhaud or Ravel. If one didn't know the sonata's provenance one would be hard put to place its nationality of origin. It is clear that by the late 1920s Lambert had completely assimilated into his own style the yeasty ferment that jazz provided for composers of that era. In Lambert's output, this piece comes right after one of his undisputed masterpieces, 'Rio Grande.' Whereas in 'Rio Grande' the jazz-inflected style was obvious and external to suit Sacheverell Sitwell's jazz-age text, in the Piano Sonata the jazz harmonies and rhythms have been internalized to a remarkable degree. Particularly striking is the second movement described accurately by Giles Easterbrook in his exceedingly helpful and lengthy booklet notes as 'a blues in rondo form.' There are impressionist harmonies mixed with more obviously blues harmonies and one can hear, at this early date, something that reminds one of the music of later giants such as Duke Ellington and Bill Evans. The finale is a scurrying presto (after an introduction marked 'lugubre') that devolves into a spectacularly sassy fugato featuring clashing minor seconds and ninths, before ending in a pensive look back to the first movement.

The most impressive work on this CD (and indeed it is given pride of place on the front of the CD cover) is the wonderful 'Concerto for Piano and Nine Players.' This is his second piano concerto, actually. He wrote one in his teens, also for chamber accompaniment, but it was left in short score only to be revived and recorded (beautifully, one might add) by pianist David Owen Norris, accompanied by Barry Wordsworth and the BBC Concert Orchestra long after his death. The present work, written just after his dear friend, fellow composer Philip Heseltine (better known as 'Peter Warlock') committed suicide. This is a virtuoso work for the pianist and in spite of its accompaniment by only nine instruments, it sounds for all the world like a 'real' concerto with its power and extraordinarily 'big'-sounding orchestration. I don't quite know how Lambert accomplished this, but one certainly doesn't get the feeling that this is a little piece, a chamber piece. Lambert quotes musical themes written by his dead friend (most particularly from Warlock's 'The Frost-Bound Wood'). The first movement is a big sonata-movement form with jagged rhythms (much of the movement is in 7/4, with excursions into 11/8 and 13/8) and stark harmonies which are leavened by the crystalline glitter of treble piano figurations. One is unprepared, after the sudden halt of the first movement, for the quiet, anguished opening (bass clarinet, muted trumpet and trombone, with piccolo keening high above them) of the middle movement, 'Intermède.' (Is this opening a reference of one of Warlock's most heart-wrenching songs, 'The Curlew,' whose call is suggested here?) A faster section follows that maintains the quiet, almost desperate sadness of the earlier material; jazzy rhythms in the piano do little to dispel this--rather they suggest a kind of frantic desperation. Trombone glisses add a sardonic note. A couple of other passages alternating fast and slow tempi lead to a recurrence of the opening section in even bleaker orchestration. The finale is not a relief of tension as one might expect. It is marked, like the last movement of the piano sonata, 'Lugubre.' It sounds for all the world like a funeral procession, and perhaps that is what is intended. The piano has extended solo passages, slow and musing, that seem to paint an aloneness that perhaps the composer was feeling. There is a brave attempt at keeping a stiff upper lip, but underneath there is this unbearable sadness. For all the polish and almost Parisian urbanity, one hears utter desolation. Withal, Lambert manages to create a satisfying formal development of this material before he comes to a coda that quotes the opening material and then more or less just fades into the darkness, almost as if the composer doesn't have the energy to do much about it. The Piano Concerto is the first work on the CD and Hyperion has had the great wisdom to leave a very long period of silence at the end of the final movement, almost time enough to recover one's wits before the musicians start up again with the Li-Po songs. There is one previous recording of the piano concerto that I'm aware of: Richard Rodney Bennett accompanied by Neville Dilkes and the English Sinfonia. This performance is much superior because pianist and instrumentalists (and not least, conductor Lionel Friend) find the right combination of desolation and hysteria in this music. A powerful experience.

Strongest recommendation.

TT=79'46"

Scott Morrison

Hoch Deutschlands Flotte! Music of the Imperial German Navy in Archival Recordings, 1907-1917

Average customer rating:

A Valuable Release
Enjoyable trip into history
It doesn' t come any better than this
Hoch Deutschlands Flotte, a musical journey in to the past

Hoch Deutschlands Flotte! Music of the Imperial German Navy in Archival Recordings, 1907-1917
Various
Manufacturer: Brandenburg Historica
ProductGroup: Music
Binding: Audio CD

Marches | Miscellaneous | Styles | Music

Compilations | Classical | Styles | Music
ASIN: B000R181LC
Release Date: 2007-06-05

Tracks:

Flaggenparade mit dem Hollaendischen Ehrenmarsch HM I, 60 (Rauscher)
Deutsches Flaggenlied aus "Unsere Marine" (Thiele-Linderer)
Unter der Admiralsflagge - Marsch, Op. 82 (Fucik)
Hiss'Wimpel und Flaggen - Marsch (Witteborn)
Deutschland zur See - Marsch (Fetràs)
Prinz-Admiral Marsch (Jummel)
Praesentiermarsch der I. Matrosen-Division HM I, 61 (Heinrich v. Preussen)
Parademarsch der I. Matrosen-Division AM II, 173 (Luebbert)
Parademarsch der II. Matrosen-Division AM II, 113 (Eriksson)
Parademarsch des III. Seebataillons, Tsingtau AM II, 198 (Radeck)
Germans to the Front! - Marsch (Wagner)
Admiral Stosch-Marsch, Op. 140 (Latann)
Seemannslos - Fantasie (Petrie)
Matrosenlied (Ramrath-Loens)
Blaujacken-Marsch (Anon.)
Lied der Torpedoboote (Witteborn)
Marine-Marsch (v. Blon)
Das Lied von der Emden (Soechting-Boeer)
SMS Moewe - Marsch (Richter)
Das war U-9 - Marschcouplet (Dannenberg)
Unterseeboot-9 im Einsatz - Dramatization (Schoenwald) .
Hoch Deutschlands Flotte! - Marsch (Friedemann)
Marsch des Yorckschen Korps AM II, 37 (v. Beethoven)
Zapfenstreich-Marsch und Gebet (Trad.-Anon.-Wieprecht)
Unsere Marine HM II, 145 - Marsch (Thiele)

Product Description

The mighty dreadnoughts and battle cruisers of Kaiser Wilhelm II's navy sail again in this magnificent, first-ever compilation from Brandenburg Historica! This TWENTY-FIVE-TRACK CD presents the marches and songs of the golden age of German sea power, with PERIOD performances by illustrious units of the Imperial German Navy and leading military- and civilian ensembles of the German Empire. "Hoch Deutschlands Flotte!" features not only the most famous parade- and presentation marches from the core repertoire of the Kaiser s "High Seas Fleet", but also many forgotten treasures of nautically flavored German martial- and patriotic music. Included here are period pieces celebrating the First World War-era exploits of the SMS Emden, Otto Weddigen s U-9 and the raider SMS Moewe; a 1907 recording of the "Flag Parade" of the Imperial German Navy (complete with drill commands and including the "Hollaendischer Ehrenmarsch", which was designated as the presentation march for all naval units by Kaiser Wilhelm II in 1901); and a super-rare 1915 version of Hermann Loens battle song, "Wir fahren gegen Engelland", set to a score that has been completely overshadowed by Herms Niel's famous setting of that song from 1940. In addition to these rarities, the album features numerous German naval marches and concert band pieces of the Imperial era that are endowed with a distinctive maritime ambience, but are virtually unknown to today's listeners The performances assembled in this compilation were originally recorded between 1907 and 1917, and though the extremely rare early discs from which they have been transcribed date from the acoustic age of recording (that is, before the invention of electric microphones and pick-ups), they have been laboriously restored and reengineered to maximize the considerable fidelity already inherent to them without altering their historical authenticity in any way whatsoever. "Hoch Deutschlands Flotte!" is accompanied by a TWENTY-FOUR PAGE BOOKLET (lavishly illustrated with many rare, never-before published photographs) which features detailed historical notes on the development of the Imperial German Navy during the reign of Kaiser Wilhelm II, its musical traditions and the background of the featured musical selections.

Customer Reviews:

A Valuable Release.......2007-07-12

Brandenburg Historica deserves much credit for releasing this and other historical CDs. The music sounds great and the booklet is very well-done and informative. Anyone with an interest in military music should certainly get this. Bravo!

Enjoyable trip into history.......2007-07-03

This is a very creditable work that preserves music of a bygone era. Original recordings are used to give an exact reproduction of the sounds of military music of the Kaiser's navy. Particularly interesting was the track where the U-9 march went off into a verbal reenactment of the U-boat attack.

It doesn' t come any better than this.......2007-06-26

The folks at Brandenburg Historica have done it again with Hoch Deutschlands Flotte. Twenty five (25) exceptionally re-mastered original 78 rmp recordings of navy marches, songs and other music, many by naval and seebattalion(marines)bands of the Kaiser's Navy. As with Brandenburg Historica's prior albums,the 19 pages of album notes and photographs are outstanding and second to none I have seen. It's a class act and does not get any better than this.

Hoch Deutschlands Flotte, a musical journey in to the past .......2007-06-17

I just finished listening to this CD and it is a real gem. A rare look back at what the German navy was like in the Glory days of Kaiser Wilhelm's Germany. Any one that is a Military Music enthustiast and/or interested in the history of this time period should not pass up this treasure. All the selections on this CD are first rate.

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