Look What I Got [Explicit Lyrics]

Track Listings

1. Intro

2. Back It Up

3. Go Get Em'

4. Look What I Got

5. Gettin' Paid

6. Up It

7. Fake Niggas

8. Buck and The Preacher

9. My Brother Shorty

10. Checkin' Nuts

11. Crescent City

12. My Soldierette

13. Slim and None

14. Dope Man

15. R.I.P. Street Soldiers

16. Hustlin'

17. Skit

18. No More Talk

Look What I Got,Sporty T,Select-O-Hits, Inc.,Hip-Hop,Pop,Rap & Hip-Hop

Look What I Got [Explicit Lyrics]

Average customer rating:

Unworthy of This Show
Great.
Deserves a place in your Sondheim Discography
Dashed high hopes
Letdown from the original

Assassins (2004 Broadway Revival Cast)
Stephen Sondheim , Neil Patrick Harris , Marc Kudisch , Michael Cerveris , Denis O'Hare , and James Barbour
Manufacturer: P.S. Classics
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music
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Assassins
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ASIN: B0002B161Y
Release Date: 2004-08-03

Tracks:

Everybody's Got The Right
Ballad Of Booth
Ladies And Gentlemen, A Toast!
How I Saved Roosevelt
What Does A Man Do...?
Gun Song
Ballad Of Czolgosz
Unworthy Of Your Love
I Am A Terrifying And Imposing Figure...!
Ballad Of Guiteau
Have It Your Way
Another National Anthem
Take A Look Lee
Something Just Broke
Everybody's Got The Right

Amazon.com

"Everybody's got a right/To their dream." So begins Stephen Sondheim's 1991 show Assassins--and in this case, said dreams involve killing an American president. The characters form a veritable rogues' gallery, including John Hinckley, Lee Harvey Oswald and John Wilkes Booth of course, but also half-forgotten luminaries such as Leon Czolgosz (who killed McKinley) and "Squeaky" Fromme (who aimed for Gerald Ford with an unloaded gun). While Sondheim's lyrics are trenchant as ever, his music, which ranges from Sousa pomp to clever little waltzes, is technically brilliant but also oddly uninvolving. (Many fans prefer the recording of the 1991 Off-Broadway version, though "Something Just Broke," which was added to the 1992 London production, makes its recorded debut here.) Still, there are several high points. In "Unworthy of Your Love," for instance, Hinckley and Fromme wax poetic about their unrequited love for Jodie Foster and Charles Manson, respectively, in a Burt Bacharach-style ballad that's deliberately (I hope!) sappy. And of course as with most Sondheim shows, the cast of this revival--Michael Cerveris, Mario Cantone, Becky Ann Baker, Marc Kudisch, Denis O'Hare--is very good. --Elisabeth Vincentelli

Customer Reviews:

Unworthy of This Show.......2007-03-01

Assassins is a masterpiece of American theatre. Through a revue of skits and songs, it examines ideas we don't want to face, and shows us the flip side of the American Dream. The score rates as one of Sondheim's best, and the overall effect, when the show is performed well, is incredibly powerful. For years, people have wanted to mount a production on Broadway.

Given this result, they needn't have bothered.

I am still amazed at how much this production got wrong. The principal cast is nothing short of dreadful: the acting is almost laughably overwrought; the pacing keeps getting disrupted by pauses held too long and lines spoken too slowly; some singers are frequently behind the tempo (notably Michael Ceveris as Booth), while others are painful to listen to (like Jeffrey Kuhn as Zangara and Mario Cantone as Sam Byck); the new orchestrations allow for more musicians in the pit, but are much less effective than the earlier arrangements.

To top it all off, this production includes "Something Just Broke", a song sung by the Ensemble as various "average" Americans of different time periods recalling where they were when the president was shot. The song was introduced in the London production, presumably for people who didn't understand the show to have something to latch on to, but it was mercifully kept out of the published vocal score and libretto. It's not a bad song in and of itself, but musically it does not fit in with the rest of the score, and dramatically it doesn't fit in with the rest of the script. Worse, it is placed right between the Kennedy assassination -- the climax of the show -- and the finale, thus skewing all the dramatic momentum and depriving the show of an effective resolution.

The result of all this is that the comic moments aren't funny, the powerful moments fail to move, and the wonderful music is left ho-hum.

I realize that the extraordinary cast of the original production of Assassins presents a dauntingly high standard for everyone else to compare to, but the college productions I've seen were better than this.

Great. .......2006-11-08

What an amazingly talented cast! Neil Patrick Harris, Marc Kudisch, Alex Gemignani (The new Valjean in the revival of Les Miserables) and of course, the former demon barber of Fleet Street, Michael Cerveris (in the role that won him a Tony)...Just to hear these giants of musical theatre perform together as an ensemble alone is worth the price of this recording. This recording is so wonderfully done, and I can't recommend this enough.

'Unworthy of your Love' and 'The Ballad of Booth' are heartbreakingly beautiful, strange that I say that considering the subject matter, but it's true, those two songs alone will stay with you for days on end. The Ballad of Booth has poetic and tragic lyrics like 'Damn my soul, if you must, let my body turn to dust, let it mingle with the ashes of my country...What I did, I did well, and I did it for my country. Let them cry 'Dirty Traitor!', they will understand later...'. and the hauntingly gorgeous melody that goes with those lyrics is just so well, romantic! But then you have the tongue-in-cheek, slightly macabre numbers like 'The Gun Song' and 'Everybody's Got The Right' with lyrics like, 'Everybody's got the right to be happy. Life's not as bad as it seems! Everybody deserves a little sunshine...' and 'All you have to do is, move your little finger...and you can change the world!'

What a rollarcoaster of emotion! I mean, seriously, who else but Sondheim could pull that off and make it the brilliant masterpiece that it clearly is?

One of my biggest regrets is not seeing this during it's brief run in 2004. :(

Deserves a place in your Sondheim Discography.......2006-07-28

Like other reviewers I was fortunate enough to see Roundabout's revival production but perhaps unfortunate that my total enjoyment of that production may bias my critical listening. I can't help but recall the proprietor (Marc Kudish) caressing a pistol into the hand of each assassin when listening to the opening Everybody's Got The Right.

However, while fans of Sondheim and musical theater will argue over every nuance, I find that both this and the original are excellent in their own way. Yes, the voices in the first recording are more refined, yet this recording seems to better capture the character's mannerisms in the vocal stylization, whether the twitchy madness of Guiteau (Dennis O'Hare) or the depressed howl of Sam Byck (Mario Cantone).

This is a worthwhile recording and one that provides me with a reprise of the excellent staging and acting of this quirky play.

Dashed high hopes.......2006-07-14

Assassins is a fascinating and surprising show. You can't imagine a more unlikely topic for a musical and yet, when you hear and/or see the show, you can't help to be impressed by the entire production. Maybe if I'd never heard the original cast recording, I would have given this a higher rating, but, to be frank, this recording suffers in comparison to the original recording in nearly every way.

While the diction on this recording is often impressive...especially Neil Patrick Harris's...too often it is accomplished at the price of tempo. Too many times the musical director has made the choice to slow down portions of the songs to the point of sluggishness. Absolutely NONE of the performances is superior to the original. That doesn't mean that any of the newer performances are horrible, it's just that they don't measure up. The one who comes the closest is Neil Patrick Harris whom I find naturally charming and vulnerable in anything he does.

The best addition to this recording is Mario Cantone's rant as Sam Byck. Unfortunately, I can't recommend getting this recording based solely on that. The biggest mis-step is the omission of the full, final, Kennedy scene. Hearing it on the original recording for the first time is an absolutely thrilling and chilling experience. Not having it all here is a MAJOR disappointment.

Buy the original recording first and check this one out from the library.

Letdown from the original.......2006-04-10

I have been a huge fan of Assassins since it first came out back in '91. While I've never had the pleasure of seeing the play in person, I've read it several times and listened to the original cast recording so often one can hardly believe it. So when I saw "Broadway Cast Recording" I was thrilled. Then I listened to it. I went from thrilled to appalled.

John Weideman, who wrote the music, seems to prefer the Broadway cast recording--at least he says so in its liner notes. I'm not sure why. While some of the songs are still excellent (like the Hinckley-Fromme duet "Unworthy of Your Love"), many of them are just plain painful to listen to. Most of the time the singing vaccilates between being totally flat of affect (most notably Moore in "The Gun Song") to hyperbolic melodrama. Booth mumbles to the point of near-unintelligibility in several songs; Zangara sounds eerily like the mob boss from 'Johnny Dangerously' that keeps calling everyone "farging bastages"; Moore sings nearly the whole time as if she'd OD'd on sedatives; and Guiteau sounds so stereotypically gay that GLAAD should be suing the producer.

It almost seems as if the cast are not sure what do do with their characters. The cast of the Original Cast Recording hit the characters perfectly--an outstanding mix of suffering, despair, anger and hostility. The Broadway cast can't seem to, in the language of the musical, "connect" to the characters. For me this is a huge failing, as the "charcaters" here are real individuals; if the performers can't connect to them, how can we be expected to?

There are also some content differences between this recording and the original. Several brief additions are made from elsewhere in the musical, and the new song "Something Just Broke" written for the Broadway revival is included on the recording. However, about half of the last act (which is included on the original) is cut out. Sadly, the material cut out is far more moving, unsettling and significant than the material added. Also, "Something Just Broke", while a fine song (and performed better than most of the rest of the material), unfortunately breaks up the natural link between the Kennedy assassination's triumphalist ending and the closing version of "Everybody's Got the Right".

I gave this three stars because I love Assassins. It is a brilliant and unnerving drama. But the Original Cast Recording is immensely superior to the Broadway Cast Recording in its ability to reveal this to the audience. I'm glad it was revived, and I'm glad it won three Tony awards--now it can get the recognition it deserves; but for me, I'll stick to the original version I fell in love with years ago. If only the Broadway recording has found a way to be "worthy of your love"...

Average customer rating:

English is an asset and a drawback
You Will Love Opera After Hearing Carmen In English
A wholly credible "Carmen" -- finally!
I love Carmen!

Carmen (Sung in English)
Bizet , Bardon , Gavin , Plazas , Magee , and Parry
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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ASIN: B00007JGRN
Release Date: 2003-03-11

Tracks:

Prelude
In The Plaza
Just Look At That Delicious Morsel
Here Come Our New Soldier Boys
Jose! There Was A Girl Here Looking For You Just Now
Off With You Old Soldier Boys
Corporal! Sir!
We Have Heard The Bell Summon Us To Meet Here
Ah, Just Look!
But Why Hasn't She Come, Our Carmencita?
Love's A Bird Wild As Any Rebel
Carmen! We Will Follow You High And Low!
The Cheek Of It!
Give Me News Of My Mother!
Your Dear Mother And I Were Leaving Church This Morning
I See My Mother's Face!
Wait A Moment - I'm Going To Read The Letter
Come And Help
So, Corporal: Tell Me What Happened
Well, Carmencita: What Do You Have To Say For Yourself?
Where Are You Taking Me?
There's An Old Bar In The City
Careful - It's Lieutenant!
Entr'acte
From Far Away Mysterious Sounds
Bravo, Bravo! More! Keep Dancing!
Hurrah! Hurrah! The Torero!
Who's That? It's Escamillo, The Bullfighter From Granada
Hurrah! Hurrah! The Torero!
You're Most Kind
We'll Come With You, Senor Torero
Toreador, Be Ready!
At Last! We Got Rid Of Them As Quickly As We Could
There's A Little Job That We're Starting!
Being In Love Is Not A Reason

Tracks:

To Bid You Welcome To Our Bar
La La La La La La La La...
Back To Camp!... Go At Once!
That Flow'r You Threw To Me I Treasured
No, It's Not Love At All!
Hello! Carmen!
Lieutenant Fair, It's True
The Sky Above The Open Road
Entr'acte
Keep Going, Dear Old Friend, Kep Going!
Right! Let's Stop For A While
Shuffle! Cut Them!
In Vain You Would Avoid The Bitter Things They're Saying
You're Back!
As For That Man, It Should Be Easy!
Is This The Place?
I Say That There's Nothing To Fear
It's Him! I'm Sure It's Him Over There!
Escamillo Is My Name, And I Come From Granada
She Had A Lover Here
Hola! Hola! Jose!
You Should Take Care, Carmen
Alas! Jose, Your Mother Is Ill
Entr'acte
A Few Cuartos! A Few Cuartos!
Here They Come! Here They Come!
If You Love Me, Carmen
It's You! It's Me!
Viva! Viva! What A Corrida!

Customer Reviews:

English is an asset and a drawback.......2004-07-20

The best thing about this recording of Carmen is the libretto. Conductor David Parry penned this facile and dramatic English translation. He avoids the pitfalls of literal translation to achieve an idiomatic flow that matches the rhythm of the original lyrics. I use this as a reference libretto for any of the French Carmens.

Unfortunately, the performance suffers from being sung in English. The singers declaim their parts with such proper British diction that Carmen comes across as a school marm. The spoken dialog is delivered beat for deliberate beat and is dripping with reverb. It makes the plaza, tavern and mountain pass all sound like a sewer pipe.

This is a good first Carmen for someone trying to understand the work. The libretto itself is a good investment for further listening. For an enjoyable performance with an emphasis on character and action, I recommend Regina Resnik on the London Double Decker set.

You Will Love Opera After Hearing Carmen In English.......2004-02-09

What a perfect introduction to opera. This newly released recording will surely get you hooked into opera. Carmen, a French opera by Georges Bizet, is the most recognizable and most popular in the opera world. It's famous melodies- the overture, the Habanera, The Toreador Song have all been featured in everything from cellular phone ring tones to Superbowl Commercial (last year's Superbowl with The "Opera In English" label has been making Italian operas into English for a number of years now. Also on the market are Verdi's La Traviata in English (with soprano Valerie Masterson as Violetta) Handel's Julius Caesar with Janet Baker and even Wagner's epic Ring Of The Nibeling sung in English. This is a terrific recording and I highly recommend it if you want to get into opera. Listen to this version first and then try the real, original French version Bizet had written. Patricia Bardon is sensational, sexy and dramatic as Carmen.

The real strength of this version is the dynamic drama. With the advantage of being sung in English, we get better insight on characters' emotions and motives, and we understand the drama a lot better. Carmen is all about great drama. Bizet drew the plot from the French writer Prosper Merimee's dark short story. Carmen is the ultimate femme fatale- a devil-may-care, sexy Gypsy living in Spain, seduces the conservatively raised soldier Don Jose, stealing him away from his fiancee, the passive Micaela, living a life of underground smuggling and rowdy taverns. "Habanera" and "The Gypsy Song and Dance" are very expressive of Carmen's extraordinarily liberal lifestyle. Don Jose, however, has fallen deeply in love- as he shows us in his song/aria "The Flower Song". But Carmen soon becomes tired of his constancy. Don Jose wants a committed, monogamous relationship with Carmen. But Carmen will not submit to love, since she is first and foremost a carnal creature. Eventually, she falls for the handsome Toreador Escamillo. Don Jose, consumed by jealousy, stabs Carmen at a bullfight after Carmen declares her love for Escamillo and rejects Don Jose's love. Don Jose's crazed, obscessive personality shines through in the English version as well. This tragedy has been done in English before so don't think this is the first time. Back in the 50's, there was a film, starring black actors "Carmen Jones" which was treated the same way as this opera- more like an English Broadway musical and with the dubbed singing voice of Marilyn Horne as Carmen. All in all, this recording is excellent.

A wholly credible "Carmen" -- finally!.......2003-09-17

This recording really sells "Carmen" as a drama. Although I have two other recordings of this opera and have seen it performed several times, it never quite worked for me dramatically. But thanks to the fine performances, conducting, and translation here, I've become a "Carmen" convert. Producing a good English-language performance of a foreign opera, especially a warhorse like "Carmen," is much more difficult than it might appear. You need performers who not only can sing the parts (of course) but also can sing *English* and make it halfway intelligible and make it sound like English and make it dramatically convincing to English-speakers. The singers on this recording do an excellent job all around. Don't be put off if you don't recognize their names -- they are up to the task musically and (especially) in their acting. Admittedly, as with *all* English-language recordings, some passages are very hard to understand without reading along, but most of the time the words are clear and effective. I would recommend this recording to any opera beginner or opera lover, even those who normally turn up their noses at performances in translation.

I love Carmen!.......2003-08-15

I do. I can think of no other opera with more melodic inventiveness, and few others with so sure a dramatic pulse. Carmen is popular and it thrills me to say that it is also a very good opera - not always true of popular things.

And what of this recording? Carmen sits well in English, so it is good to hear in translation, although some of the detais in the text jar. Escamillo refers to Jose as "my dear", which sounds rather peculiar, and the guide's line to Micaela: "it's not exactly inviting, is it?" sounds distinctly Middle England rather than Rural Spain. Some of the performers, not least Carmen herself, make the words work, although there are long tracts, especially with the chorus, where the language is distinctly indistinct.

The soloists are, by and large, strong. Patricia Bardon's deep, Handel-friendly voice adapts well to Carmen and she colours the music with phenomenal detail, sounding sexy and provocative from the start with an edge of pride and anger that emerges as the show goes on. She is out of her depth above the stave, though, and some extra top notes in the second act don't show her off to her best advantage. I have previously said that Julian Gavin is poorly served by recordings, though here he sounds much more even and gives a thrilling and musical performance (but his wooden spoken lines let him down). Mary Plazas is a lovely Micaela, rich-voiced and sincere (and word-perfect), but Garry Magee sounds miscast as Escamillo, lacking the ballast at the bottom of the voice to do justice to this tricky role.

The supporting cast is good (Mary Hegarty seems to do nothing but Frasquita these days!) but the really treasurable thing is the conducting. Stepping out of Italian Ottocento, David Parry turns his hand to this French Comedie with an appropriate lightness of touch. His pacing and handling of the set pieces is exemplary and the enrtractes go with a real swing.

A pleasure, then, for the Carmen naive or a novelty for the Carmen-acquainted. I nearly wrote Carmen-weary - but I don't think it's possible.

Average customer rating:

Look what I got

Okay, you know why you're here...

Simply a Jazz Master in action

Look What "I've" Got

Her creativity is outstanding...

Look What I Got
Betty Carter
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music
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ASIN: B00000477O
Release Date: 1990-10-25

Tracks:

Look What I Got
That Sunday, That Summer
The Man I Love
All I Got
Just Like The Movies
Imagination
Mr. Gentleman (Sequel to 'Tight')
Make It Last
The Good Life

Amazon.com

Betty Carter pressed the jazz singer's art to the limits, in the recasting of standard melodies, in her creative scat, and in the ability to blend her sound with different instruments. Her voice was a special instrument, with an airy flutelike quality in every register, and her singing could be playful or passionate. On this 1987 recording, Carter's voice is mixed right down amid the instruments and each song emerges as a collective creation, a sustained work with Carter at the helm, inspiring her associates. Tenor saxophonist Don Braden blends memorably with Carter on the ballads "The Man I Love" and "Make It Last," while the singer's gifts as a tutor and talent scout are confirmed here by the presence of two outstanding young pianists, Stephen Scott and Benny Green. --Stuart Broomer

Customer Reviews:

Look what I got.......2004-12-25

The first time I heard this song I was a child watching the Cosby Show. Betty Carter was a voice coach and Vanessa and her friends wanted to start a singing group. At the end Betty Carter was wearing a gold dress and she sang Look what I got by piano and candle light. It was the best Cosby Show. I never forgot that voice. I was so pleased to hear that song again!

Okay, you know why you're here..........2004-10-12

Nobody comes to this album by accident. This is Betty Carter's first album with Verve - having produced most of her own material under her Bet-Car label for the preceeding 20 years. I believe Verve helped get her the production she needed - this was and is an acclaimed album and deservedly so. Carter toured pretty heavily behind this album and one may easily credit this effort with reviving her flagging career and paving the way for later performances which I can't imagine being deprived of.

Why is that important? Time isn't on our side! The eighties brought a great deal of analysis to jazz, which was in many ways unhealthy for developing artists. This and other albums of the time seemed to counter much of the jazz criticism of the times: there will be many flavors of jazz, they seemed to say. Moreover, Look What I Got marked a treatment of standards which was influential on a conservative audience and a group of conservative young players. As Carter's own Jazz Ahead program sought to tutor the young as soon as five years after the debut of this album, it's easy to imagine her bringing them to focus on jazz as a shared event in much the same way she seems to bring the young group of players together on these sides.

To speak briefly about their contributions, their work is excellent whether on Carter's original compositions or on the highly innovative standards (an up-tempo Imagination which wrestles the traces of optimism from the song from the deadened and helpless version by Chet Baker, and an almost rhythmless The Man I Love and a Bossa version of The Good Life). Of the instrumental work on the album, Don Braden's tenor saxophone is worth singling out, as he manages several call-and-response sections with Carter which evokes many of the forms heard in the legeneary Coltrane-Hartman collaboration. While his solos are good too, his vocal fills are some of the best I've heard.

But the obvious triumph of the album is Carter's. She obviously finds her stride as an ensemble leader on this album, and her mentorship of the individual players was evident and on display on her tour dates. As far as the album structure goes, this is perhaps the best balance of up-tempo and ballad work Carter produced. The best cut of the album is Look What I Got, which is an original composition to rival the best standards. Perhaps you might see Look What I Got as one bookend to Carter's late career, with the middle consisting of such gems as Droppin' Things, the heartbreaking 30 Years. The other bookend could be September Song.

If you find yourself inclined toward Ms. Carter's voice and her ability to convey the heart of a song without even the use of words, you will find much to enjoy in this essential recording. Enjoy it.

Simply a Jazz Master in action.......2003-05-18

She is always inventive, creative, never does a song as you might expect. Highly recommended if you want to refresh your ears.

Look What "I've" Got.......2001-11-19

I will be the first to admit that Betty Carter will not be everyone's "cup-of-tea". She's a jazz singer in the traditional sense that she likes to weave in and out of a song, with, at times, no apparent direction. I once compared her singing style to listening to Charlie Parker play....and like that jazz great there is a method to her madness. She is a remarkable woman who when releasing this disc had lead a full and eventfull life and it certainly comes out in her music. No, this is not a disc for someone who considers Diana Krall to be a "jazz singer". Betty is well past the point of just pouring out a melody....her voice is an instrument in itself (cliche...but true!) and she practically reinvents these songs. And what a wonderful selection of songs are chosen. "That Sunday,That Summer" is a amazing offering and Betty is apparently having so much fun singing it...and you'll have an equally good time listening! "The Good Life", one of my favorites, but when she sings "tackles" it (and tackles is an appropriate metaphor) it almost makes me forget Tony Bennett's version. And of course the title track "Look What I've Got" a song as playful and daring as the rest of this disc. I won't forget "Imagination" which, in her capable hands, is at once winsome,nostalgic and utterly heartbreaking. Being sung by a singer of Betty's background and experience the song takes on a whole new meaning....and I love her for that!

Now, I am aware that there are many fine, young jazz singers out there. Singers such as Carla Cook and Laverne Butler are helping to keep this wonderful music alive and I am grateful for their talents. But, when a singer such as Betty Carter, who truly sings from a lifetime of experience, comes around it is obviously to "our" benefit to sit up and take notice. She deserves that respect....and if we're wise we'll all benefit from her remarkable talent.

Her creativity is outstanding..........2000-11-02

One of the most creative singers to have kept jazz singing alive in the 80's, & 90's. She always took adventurous scat solos, always improvising and taking chances on the same level as Anita O'Day or Mel Torme. Carter's unique vocal phrasing and playfulness just grew greater as the yaers went by. Although one should start with maybe "I Can't Help It" (a single CD on the GRP label that re-issues her 1st two sessions from the 50's). This set belongs in any Cater fans collection, and anyone who appreciates risk taking and adventurous jazz singing is advised to pick this one up.

Average customer rating:

A Comic-Opera Treasure!
an obscure delight!

Dittersdorf: Arcifanfano, King of Fools

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Operettas | Opera & Vocal | Styles | Music
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ASIN: B000003LIK
Release Date: 1994-12-12

Tracks:

Arcifanfano, King Of Fools: Act I: Overture
Arcifanfano, King Of Fools: Act I: Chorus - We've Traveled Far (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act I: Recitative - Approach! What Is Your Name, Sir? (Furibondo)
Arcifanfano, King Of Fools: Act I: Aria - With A Sword That Is Sterner Than Moses (Furibondo)
Arcifanfano, King Of Fools: Act I: Recitative - Unhappy Oddling (Gloriosa)
Arcifanfano, King Of Fools: Act I: Aria - My Fair Skin, My Bare Chin (Gloriosa)
Arcifanfano, King Of Fools: Act I: Recitative - Was Ever There Insanity (Sordidone)
Arcifanfano, King Of Fools: Act I: Aria - Snugly Hidden Safe From Prying (Sordidone)
Arcifanfano, King Of Fools: Act I: Recitative - Madness Beyond All Measure (Malgoverno)
Arcifanfano, King Of Fools: Act I: Aria - When The Purse Is Clinking (Malgoverno)
Arcifanfano, King Of Fools: Act I: Recitative - There, Like A Vapor (Semplicina)
Arcifanfano, King Of Fools: Act I: Aria - O Look So Woeful (Semplicina)
Arcifanfano, King Of Fools: Act I: Recitative - Such As She Seems To Be Frigid (Garbata)
Arcifanfano, King Of Fools: Act I: Aria - Let's Sing, Let's All Be Jolly (Garbata)
Arcifanfano, King Of Fools: Act I: Recitative - For All Types Of Confusion
Arcifanfano, King Of Fools: Act I: Aria - The Fierce One Lives Only For The Slaughter
Arcifanfano, King Of Fools: Act II: Recitative - I Beg You To Stop (Malgoverna, Gloriosa, Garbata)
Arcifanfano, King Of Fools: Act II: Aria - We Praise The Sun For Beauty (Malgoverna)
Arcifanfano, King Of Fools: Act II: Recitative - Bumpkin, Coarse-grained (Gloriosa, Garbata)
Arcifanfano, King Of Fools: Act II: Aria - If You Will Love Me, I Will Love You (Garbata)
Arcifanfano, King Of Fools: Act II: Recitative - No, They Cannot Persuade Me! (Gloriosa)
Arcifanfano, King Of Fools: Act II: Aria - Lovely Ladies, You Enjoying (Gloriosa)
Arcifanfano, King Of Fools: Act II: Recitative - Where's My Lover, Sweetheart (Sordidone)

Tracks:

Arcifanfano, King Of Fools: Act II: Aria - Sordidone, Be A Bunny
Arcifanfano, King Of Fools: Act II: Recitative - Are You Hiding? (Sordidone, Garbata)
Arcifanfano, King Of Fools: Act II: Duet - See Comely Phyllis Wander (Garbata, Sordidone)
Arcifanfano, King Of Fools: Act II: Recitative - Don't Come Near Me (Semplicina, Furibondo)
Arcifanfano, King Of Fools: Act II: Aria - The High And Mighty Lion (Furibondo)
Arcifanfano, King Of Fools: Act II: Recitative - Quiet At Last (Semplicina)
Arcifanfano, King Of Fools: Act II: Duet - Semplicina, Do You Hear Me? (Semplicina)
Arcifanfano, King Of Fools: Act II: Quartet - Ever More Bitter Shall Be My Raging (Gloriosa, Garbata, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act II: Recitative - What Now? What New Forms Of Madness? (Gloriosa, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act II: Chorus - Long Live King Arcifanfano (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act III: Aria - Earth, Our Dearest, Good And Nearest (Sordidone)
Arcifanfano, King Of Fools: Act III: Aria - That His Sowing Yield A Growing (Malgoverno)
Arcifanfano, King Of Fools: Act III: Recitative - What Has The Fool Committed (Malgoverna, Gloriosa)
Arcifanfano, King Of Fools: Act III: Aria - Ask Of Beauty, She Will Answer (Gloriosa)
Arcifanfano, King Of Fools: Act III: Recitative - Hop And Stop It! (Furibondo, Gloriosa)
Arcifanfano, King Of Fools: Act III: Aria - All Of This Planet, I Cry To Each Man (Furibondo)
Arcifanfano, King Of Fools: Act III: Recitative - What's Unleashed These Dreadful Roars? (Garbata, Furibondo)
Arcifanfano, King Of Fools: Act III: Aria - I'm Simple And I'm Candid (Garbata)
Arcifanfano, King Of Fools: Act III: Recitative - What Mischief And Load This Purse Is!
Arcifanfano, King Of Fools: Act III: Aria - Goddess Bright As Morning
Arcifanfano, King Of Fools: Act III: Recitative - Mother Always Used To Tell Me (Sordidone, Semplicina)
Arcifanfano, King Of Fools: Act III: Aria - What A Lot I Need What I Need Lot's Of! (Sordidone)
Arcifanfano, King Of Fools: Act III: Recitative - May He Not Come To Harm (Semplicina)
Arcifanfano, King Of Fools: Act III: Aria - There's A Devil In A Ducat (Semplicina)
Arcifanfano, King Of Fools: Act III: Recitative - Gather, O Subjects, About Us (Gloriosa, Garbata, Semplicina)
Arcifanfano, King Of Fools: Act III: Duet - If You Marry Me (Semplicina)
Arcifanfano, King Of Fools: Act III: Chorus - With Curiosity All Aflame (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act III: Recitative - Quiet, Please, We Implore You!
Arcifanfano, King Of Fools: Act III: Chorus - The Wise And The Mad Have Got One Word For Their Dwelling

Customer Reviews:

A Comic-Opera Treasure!.......2007-01-28

Dittersdorf is a sort of working-man's Mozart; in fact, this opera sounds similar to some of Mozart's early operas. But Mozart sought to break the rules and to explore new musical ideas; Dittersdorf is not an innovator...yet he is no less a master! This performance, too, is a materpiece of refined (not always!) comedy; the arias include some extremely difficult vocal leaps and trills, yet the primary joy is the witty verse. W.H. Auden (no less!) ramrodded this translation to English. And Anna Russell, famed for her "Analysis of Wagner's Ring Cycle" steals every scene she's in! Ad-libbing shamelessly, her introductory aria, all by itself, is worth more than the purchase price!

an obscure delight!.......2002-07-31

Eleanor Steber's image on the cover of this set caught my eye while rummaging through the cut-out bins of San Francisco on a recent opera whirlwind. What a lost treasure this performance is - recorded "LIVE" in NYC 1965! All the principles shine, their energy ebullient. Don't hesitate, buy it and smile before it disappears.

Average customer rating:

Rodgers and Hammerstein:Always a Favorite!!!!

The Musicality of Rodgers & Hammerstein
Rodgers & Hammerstein , Ron Raines , and Brent Barrett
Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

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The Musicality of Porter
The Musicality of Kern
Musicality of Lerner and Loewe
The Musicality of Berlin
The Musicality of Rodgers & Hart

ASIN: B000067AS7
Release Date: 2002-07-16

Tracks:

Oh! What a Beautiful Mornin' (Oklahoma!) - Ron Raines
If I Loved You (Carousel) - Thomas Allen/Valerie Masterson
It's a Grand Night for Singing (State Fair) - Company
The Gentleman Is a Dope (Allegro) - Debbie Gravitte
Bali Hai (South Pacific) - Pat Suzuki
Getting to Know You (The King and I) - Valerie Masterson
No Other Love (Me And Juliet) - Brent Barrett/Kim Criswell
Everybody's Got a Home but Me (Pipe Dream) - Judy Blazer
Waltz for a Ball (Cinderella) - Orchestra
Love Look Away (Flower Drum Song) - Sally Burgess
The Sound of Music (The Sound of Music) - Susan Egan

Customer Reviews:

Rodgers and Hammerstein:Always a Favorite!!!!.......2006-10-08

I bought this CD because I want to get my hands on everything where Ron Raines is singing. He starts the CD with a beautiful rendition of OH WHAT A BEAUTIFUL MORNING. Unfortunately, that is the only thing he sings. The other singers are good, too. I thought it was interesting to have Pat Suzuki sing BALI HAI. Her version is different from the original but very beautiful. All of Rodgers and Hammerstein's music is beautiful and sometimes moving and inspirational. Unless you own every R and H musical, buy this!

Average customer rating:

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

General | Soundtracks | Styles | Music

General | Easy Listening | Pop | Styles | Music

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

Tracks:

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

Album Description

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

You're Sensational - Cole Porter in the '20s, '40s, and '50s, Vol. 1 - Wake Up & Dream (1916-1929)

Average customer rating:

You're Sensational - Cole Porter in the '20s, '40s, and '50s, Vol. 1 - Wake Up & Dream (1916-1929)
Cole Porter
Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

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You're Sensational - Cole Porter in the '20s, '40s, and '50s, Vol. 2 - Kiss Me Kate (1940-1948)
You're Sensational - Cole Porter in the '20s, '40s, and '50s, Vol. 3 - High Society (1948-1956)
Cole Sings Porter
Frank Sinatra Sings the Select Cole Porter
Sinatra Sings Cole Porter

ASIN: B00006JTE4
Release Date: 2002-10-22

The Rodgers & Hammerstein 50th Anniversary Collection

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The Rodgers & Hammerstein 50th Anniversary Collection

Manufacturer: Mca
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

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Swing General | Swing Jazz | Jazz | Styles | Music

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ASIN: B000002ONG
Release Date: 1993-03-30

Tracks:

Overture - Oklahoma! Orchestra/Jay Blackton
Oh, What A Beautiful Mornin' - Original New York Cast
The Surrey With The Fringe On Top - Original New York Cast
Kansas City - Original New York Cast
I Cain't Say No - Original New York Cast
Many A New Day - Original New York Cast
It's A Scandal! It's A Outrage! - Original New York Cast
People Will Say We're In Love - Original New York Cast
Pore Jud Is Daid - Original New York Cast
Lonely Room - Original New York Cast
Out Of My Dreams - Original New York Cast
The Farmer And The Cowman - Original New York Cast
All Er Nuthin' - Original New York Cast
Oklahoma - Original New York Cast
Finale - Original New York Cast
Pore Jud Is Daid (Alternate Take/Complete Version) - Original New York Cast

Tracks:

Waltz Suite: 'Carousel' - Carousel Orchestra/Joseph Littau
You're A Queer One, Julie Jordan/Mister Snow - Original New York Cast
If I Loved You - Original New York Cast
June Is Bustin' Out All Over - Original New York Cast
When The Children Are Asleep - Original New York Cast
Blow High, Blow Low - Original New York Cast
Soliloquy - Original New York Cast
A Real Nice Clambake - Original New York Cast
There's Nothin' So Bad For A Woman/What's The Use Of Wond'rin' - Original New York Cast
The Highest Judge Of All/You'll Never Walk Alone - Original New York Cast
You're A Queer One, Julie Jordan/Mister Snow (Alternate Take) - Original New York Cast
There's Nothin' So Bad For A Woman/What's The Use Of Wond'rin (Alternate Take) - Original New York Cast
Waltz Suite: 'Carousel' (Alternate Take/Complete Version) - Carousel Orchestra/Joseph Littau

Tracks:

Overture - The King & I Orchestra/Frederick Dvonch
I Whistle A Happy Tune - Orginal New York Cast
My Lord And Master - Orginal New York Cast
Hello, Young Lovers - Orginal New York Cast
March Of The Siamese Children - The King & I Orchestra/Frederick Dvonch
A Puzzlement - Orginal New York Cast
Getting To Know You - Orginal New York Cast
We Kiss In A Shadow - Orginal New York Cast
Shall I Tell You What I Think Of You? - Orginal New York Cast
Something Wonderful - Orginal New York Cast
I Have Dreamed - Orginal New York Cast
Shall We Dance? - Orginal New York Cast

Tracks:

Oh, What A Beautiful Mornin' - Bing Crosby/Trudy Erwin
Boys And Girls Like You And Me - Judy Garland
It Might As Well Be Spring - Dick Haymes
I Haven't Got A Worry In The World - Hildegarde
You'll Never Walk Alone - Judy Garland
So Far - Sylvia Syms
Some Enchanted Evening - Al Jolson
A Wonderful Guy - Evelyn Knight
Loneliness Of Evening - Bing Crosby
Dites-Moi - Hildegarde
Shall We Dance? - Jack Jones
No Other Love - Bing Crosby
There's Music In You - Bing Crosby
All At Once You Love Her - Buddy Greco
The Next Time It Happens - Carmen McRae
Do I Love You Because You're Beautiful? - Jeri Southern
Love, Look Away - Rosemary Clooney
Edelweiss - The Do-Re-Mi Chorus

Average customer rating:

What I Got
Michelle Swan
Manufacturer: Michelle Swan
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music
ASIN: B000CAGCVY
Release Date: 2004-04-06

Tracks:

What I Got
Without Love
Time of My Life
Not That I'd Know
Out of the Blue
Wisteria
I Get Closer
Never Be the Same
Waiting to Arrive
Tonight in My Mind
Mad Woman

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
What to Listen for in Music
Study of Orchestration, Third Edition
The Life and Works of Ludwig van Beethoven
The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.

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