Lebend Im Schlachthof [Import]

1. Intro

2. Bayern Is' Überoi

3. Oberammergauer Möpse

4. Ein Geeinn Für Die Menschheit

5. Wäscheglubberldesperados

6. Hausmusikblues

7. Wenn Brooke Shielt

8. Wennst Verstehst Was I Moan

9. Was Macht Ein Star, Wenn Er Privat Is'?

10. Popcorn Frutti Di Mare

11. Dutzi Dutzi

12. Rauchermächen

13. Oma

14. Der Prüfungstag des Führerscheins

15. Herr Volksmusikstadl

Lebend Im Schlachthof,Willie Astor,Jupiter,World Music

Average customer rating: WHAT CAN I SAY? Rest in Peace Dear Bubbles (1929-July 2, 2007) two beautiful discs! Good example of the "Art of Beverly Sills" Claws

Art of Beverly Beverly Sills Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music General | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: The Very Best of Beverly Sills The Great Recordings Beverly Sills: Made in America Beverly Sills Massenet: Manon ASIN: B000075A7K Release Date: 2002-11-12

Tracks:

1. Mignon: Oui, Pour Ce Soir Je Suis Reine Des Fees...Je Suis Titania La Blonde
2. Manon: Allons! Il Le Faut-Adieu, Notre Petite Table
3. Manon: Je Marche Sur Tous Les Chemins-Obeissons Quand Leur Voix Appelle
4. Louise: Depuis Le Jour
5. Linda Di Chamounix: Ah! Tardai Troppo...O Luce Di Quest'Anima
6. Lucia Di Lammermoor: Regnava Nel Silenzio...Quando Rapito In Estasi
7. I Puritani: Fini...Me Lassa!
8. I Puritani: Vieni, Vieni Fra Queste Braccia
9. Roberto Devereux: L'amor Suo Mi Fe' Beata
10. Maria Stuarda: O Nube
11. Anna Bolena: Cielo A' Miei Lunghi Spasimi-Coppia Iniqua

Tracks:

1. Les Contes D'Hoffman: Les Oiseau Dans La Charmille
2. Les Contes D'Hoffman: Elle A Fui, La Tourterelle
3. Zaide: Ruhe Sanft, Mein Holdes Leben
4. Der Opernball: Im Chambre Separee
5. Die Lustige Witwe: Es Lebt' Eine Vilja
6. The Ballad Of Baby Doe: Gold Is A Fine Thing
7. Die Tote Stadt: Cluck, Das Mir Verblieb
8. Daphen: Was Blendet So...Ich Komme...Ich Komme
9. Sechs Lieder Op.19 No.2: Breit' uber Mein haupt Dein Schwarzes Haar

Customer Reviews:

WHAT CAN I SAY?.......2007-07-05

FOR THOSE WHO WANT A SAMPLER, IT IS THE BEST. YET, IT LEAVES YOU PINING FOR THE ITEMS SILLS NEVER RECORDED IN THEIR ENTIRETY. MORE STRAUSS, MORE OF EVERYTHING. A DEFINITIVE VOICE. HER LUCIA IS UNSURPASSED.

Rest in Peace Dear Bubbles (1929-July 2, 2007).......2007-07-03

I have always loved the flowing, plaintive music of bel canto, and no other singer perhaps captured the synthesis of fioritura and expression so perfectly as Beverly Sills. Callas may have been a supreme dramatist, but Beverly Sills had a better command of the fioritura that skyrocketed her career during the 60s and 70s. It is indeed sad that America has lost one of its national treasures yesterday when Beverly Sills passed away in Manhattan. She truly was one of the greatest. Just listen to her singing any one of Donizetti's three queens and you will know what I mean. She is exemplary not only in Donizetti though. Her Manon is still the best, her Violetta in par with Callas, her Louise the most idiomatic ever recorded, her Fille du Regiment a joy, Linda di Chamounix ecstatic, and Gilda a lesson in the art of light Verdi. She was a supreme painter of characters. Has there ever been a more brilliant Zerbinetta? And how many singers have been able to truly convey the youth of Elvira in Puritani? In Rossini, she was also unparalleled in L'Assedio di Corinto, the role that she made her La Scala debut in. Beverly Sills was one of a great many singers who belonged to a great golden age of singing, and I am thankful that I was born into the right time to hear her glorious work. This CD is a wonderful compilation of the brand of singing that she brought into the lives of many an opera fan for years and years to come.

I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.

two beautiful discs!.......2007-02-18

Beverly Sills not only survived being a child prodigy - a rare enough thing among singing musicians - she triumphed in a big way. Her fertile and beautiful art is wonderfully represented on this double disc set from Deutsche Grammophon. I sense today a resurgence of appreciation for her art, and to call it well deserved is saying the least. The singing's jam packed with pure musicianship, attention to nuance, fidelity to composer and character - in a word, everything requisite to making the operatic art thrive, qualities in short enough supply today among many opera stars, and it makes this package even more attractive. Sills not only understood bel canto art, she accomplished it memorably. Highlights include 'Ah! Tardai troppo...' (Linda di Chamounix), &an unearthly 'Regnava nel silenzio...' (Lucia), which I might prefer to Sutherland's for its committment and munificence. The gone too soon Thomas Schippers conducts a great performance - how that man could possess whatever orchestra and score he worked with. Two arias from I Puritani - especially 'Vieni, vieni fra queste braccia' with the singing of the genius Nicolai Gedda as Arturo, and an opening to Anna Bolena's aria 'Cielo, a' miei lunghi spasimi' that wipes clean every memory of other versions. All that on disc 1! I had forgotten Sills' beautiful pianissimos, singing so musicianly and free of ego - her interpretation is always only her adherence to score and composer, and greater praise cant be given a classical singer. Disc 2 offers a definitive version of Korngold's 'Gluck, das mir verblieb' (Die Tote Stadt) among a number of fine versions out there. The slowest version available and I feel I'm hearing it for the first time, and with a true Viennese (Rudel) conducting! You can put this track alone on repeat and live out the day in freedom! If you dont know Sills' art, or dont remember it well and truly, this set is a fine place to begin what will become transfixion with a musical art that proves itself urgent and inextinguishable! Highest recommendation.

Good example of the "Art of Beverly Sills".......2007-01-27

Beverly Sills is one of the most well reputed coloratura sopranos of the past fifty years. This CD illustrates why she has attained such renown. First, it shows the range of her singing. While much of her work focused on Donizetti, Bellini, and Rossini, she sang about fifty roles in her career, before retiring in her late 40s. This 2 CD set provides a sense of the range of her work.

The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.

Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.

The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.

The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.

One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.

All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.

Claws.......2003-11-16

I already wrote a great review of this collection. It is supreme artistry, and I find her high notes rather large and not shrill. My only question is about the cover photo. Those fingers look like something out of Edward Scissorhands or Nightmare on Elm Street! Does anyone else agree with me? Almost seems like someone must have done some false touch-ups to make them look like claws!

Average customer rating: In spite of my limited complaints, something I'm going to give a full recommendation Exquisite Profound simplicity Fǖr Alina, a love song. So tragically beautiful.

Alina - Arvo Part Vladimir Spivakov , Sergej Bezrodny , Dietmar Schwalke , and Alexander Malter Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD All Works by Part | Part, Arvo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music ECM Classical | ECM Records | Amazon.com Label Stores | Stores | Music ECM Jazz & World | ECM Records | Amazon.com Label Stores | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Part, Arvo | ( P ) | Composers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Tabula Rasa Lamentate Arvo Pärt Sanctuary Henryk Gorecki: Symphony 3 "Sorrowful Songs" Silencio ASIN: B000024HL1 Release Date: 2000-02-01

Tracks:

1. Spiegel im Spiegel
2. Fna
3. Spiegel im Spiegel
4. Fna
5. Spiegel im Spiegel

Amazon.com's Best of 2000

Arvo Pärt's Alina follows a simple-enough formula. Two stark instrumental works from the master of holy minimalism repeat each other, each time slightly different. But the blissful results--quiet, haunting, and thoroughly hypnotizing--meld to create one of classical music's best albums of 2000. It's as intense and sublime as contemporary classical music can be. --Jason Verlinde

Amazon.com

This is a remarkable release, both for its beauty and its novelty at programming. Für Alina is a two-minute solo piano piece composed by Pärt in l976 that ushered in his "tintinnabuli" style, that is, the bell-like, simple, no-notes-wasted method for which he has become beloved and famous. On this CD, pianist Alexander Malter plays it twice, as the second and fourth tracks; each iteration takes almost 11 minutes (Pärt assumed it would be embellished, and he chose this pair for the CD). There are minute variations in tempo, emphasis, and rubato from one to the other, but, all that being said, it amounts to 22 minutes of the most beautiful, contemplative music ever performed. Almost equally gentle is Spiegel im Spiegel, played as tracks 1, 3 and 5 and scored for piano and, respectively, violin, cello, and then violin again. The instruments mirror one another (Spiegel is German for mirror), with notes added to the scale with each repetition, and so on. Almost impossible to describe in its loveliness, each of the three sets is beautiful; the cello in track 3 gives it extra mellowness. This is music staggering in its simple complexity and a treat for the ear and heart. --Robert Levine

Customer Reviews:

In spite of my limited complaints, something I'm going to give a full recommendation.......2007-04-17

The ECM disc ALINA contains two works by Estonian composer Arvo Part performed by four outstanding musicians under the direction of the man himself.

Arvo Part is best known for the style he embarked upon in the mid-1970s after a long and conspicious silence, leaving behind the serialism and college efforts of his younger days. This style is called "tintinnabuli" by the composer for its bell-like tones, and in the press it has often gained the title "holy minimalism" for its back-to-basics approach and often explicitly Orthodox Christian message.

Well, Part fans will find the music here somewhat different than the standouts of Part's mature style, such as the epic "Passio", stunning "Tabula Rasa", and his liturgical masterpiece "Kanon Pokajanen". The two early tintinnabuli pieces here bear no explict Christian programme, and they are stripped to a scale more bare than even the fairly simple works of the years to come.

"Fur Alina" (1976) was the first effort in tintinnabuli, a two-minute score launching an improvisation that could go on for hours, based on two voices related through triadic harmony and often compared to plainchant. Part selected two selections from it for this disc, and Alexander Malter performs here. There's not much in the way of set rhythm here. Instead the notes of the piano similar come one after another, with the piano's rich array of overtones exploited to the fullest. When the pianist stops, the reverberations of the strings continue to send forth such a strong sound, an effect Part was later to explore in his clever "Cantus" in memory of Benjamin Britten.

"Spiegel im Spiegel" (Mirror in Mirror, 1978) is present here in three different recordings. The first and third are of the arrangement for violin and piano, performed by the duo of Vladimir Spivakov and Sergei Bezrodny. The middle recording is for cello and piano with Dietmar Schwalke performing with Alexander Malter. In this extremely elegant piece, the piano keeps a constant cadence against which the string instrument sweeps. The result hints at something immensely spiritual, like seeing two lovers gaze into each other's eyes. Part was later to shake up this joining of loving voices with the faster-moving "Fratres" piece, arranged for a number of different instruments over the years, but this contemplative early effort has a beautiful clarity.

This is music that offers emotional impact more than telling us something we didn't know before. As a result, it's not good for frequent listening, as one can tire of the threadbare textures. And, I've got to admit, the lack of an explicitly religious programme is worrying, because religious music that cannot communicate a clear orthodoxy and leave no room for differing opinions just ends up undoing itself. However, for commited Part fans--or even people just looking for the ultimate in contemplative music--this is a disc very much worth encountering and taking down from the shelf from time to time. Those looking for more representative Part works, however, would do well to seek out Passio and Tabula Rasa, also on ECM.

Exquisite.......2006-09-30

My partner put me on to this CD. It's the most beautiful music I've ever heard. Deceptively simple, profoundly moving.

What an amazing person this composer must have been...to be able to create something so magical and beautiful - such a gift. Especially nowadays when there seems to be so few truly valuable contributions to the world of music.

Profound simplicity.......2006-08-31

Just like writing a short letter is harder than writing a long letter, so it is with music. I hate 90 percent of "New Age" music a la Steve Halperin because it is lazy composition, as if playing fewer notes and holding them longer or repeating phrases endlessly is enough to create profundity. On the other hand, we have this in its deep, deep simplicity, each note purposeful and so well thought out. For example in Spiegel im Spiegel, at one point in what is a sweet undulating melody are these little staccato high notes that are almost jarring in their abruptness and yet delightful, as if to wake you up and listen. Another composer would have just kept the same flow unalteringly, good, versus inspiring.

Fǖr Alina, a love song........2006-03-15

You sit in a darkened room looking into a garden. There is no moon.

A single disembodied note sounds, and in the ambient light you see a piano. There is a repeated triad that you think is the opening of Moonlight Sonata, but it's not. It is a simple right-handed exercise, lovely in its repetition, a practiced, careful rhythm.

From a shadow in the drapes, a violin begins a pair of notes, one simple bow stroke, down and up, listening, enjoying its resonance, perfecting its tone.

As if they were unaware of each other, piano and violin continue with parts accidentally overlaid. Long slow notes by the violin are a wistful melody, the finger exercise a cautious metronome.

This is crushingly intimate music. We have stumbled into a sacred moment. When the left hand strikes a lower key, it is as if a third musician has entered the room and with a simple, ominous single note, has taken the percussive role from the right hand. But the right continues and our attention is drawn again to its simple melody. There is that repeating triad. The cycle begins again.

This is Fǖr Alina. It is so lovely, so innocent and so unspoilt, we can only cry upon first hearing. It is unimaginable Pärt did not intend Fǖr Alina to be compared with Fǖr Elise. With this CD, Fǖr Alina, like other elegant simplistes, is poised to be trivialized. Mark my words, the day will come, and soon, when some barbarian will use it in a ring tone. But this is strong music, strong enough to outlast mere popularity. One day it will make you cry again.

Still, I sort of hope no one will buy it.

So tragically beautiful........2006-02-11

I had purchased this CD for the track Alina - my sister's name is Alina and I was looking at learning this piece. What beauty. It's in this music, not the passion of Chopin or the violence of Prokofiev, that I can express my inner torment, my personal struggles.

As for the Spiegel, for some reason when I listen to the violin on the first track, I cry. Every time. Sometimes uncontrollably. I can't describe the effect this music has on me - that wierd feeling of satisfaction and regret at the same time. When I hear that soaring piano accompaniment and the rising violin, I can reminisce back on my life, good times and bad. It's absolutely sublime.

Life can be wonderful and simple, and this music demonstrates exactly that.

Average customer rating: Gould's Most Errant Interpretation THE VERY SOUL OF MUSIC Worth getting for Contrapunctus XIV, but for full performance look elsewhere The Best Bach Interpreter of the Century Excellent Rendition of the Art of the Fugue

Art of the Fugue - 70th Anniversary Edition Glenn Gould , and Bach Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music $9.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: A State of Wonder: The Complete Goldberg Variations (1955 & 1981) French Suites - 70th Anniversary Edition The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book I The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II Partitas 1 2 & 3 - 70th Anniversary Edition ASIN: B00006FI8C Release Date: 2002-09-03

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating: PROFILES OF BACH Sublime! Ich habe genug - I have enough Lorraine Hunt Lieberson - Bach Cantatas Beautiful

Bach: Cantatas BWV 82 and 199 Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Bach, Johann Sebastian | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Lorraine Hunt Lieberson: Handel Arias Peter Lieberson: Neruda Songs Lorraine Hunt - Handel Arias Music of Peter Lieberson: Rilke Songs, The Six Realms, Horn Concerto Bach - Anna Magdalena Bach Notebook (highlights) / Hunt-Liberson, McGegan ASIN: B0000AOVTI Release Date: 2003-09-23

Tracks:

1. Aria: Ich Habe Genug
2. Recitative: Ich Habe Genug. Mein Trost Ist Nur Allein
3. Aria: Schlummert Ein, Ihr Matten Augen
4. Recitative: Mein Gott! Wenn Kommt Das Schone: Nun!
5. Aria: Ich Freue Mich Auf Meinen Tod
6. Recitative: Mein Herze Schwimmt Im Blut
7. Aria And Recitative: Stumme Seufzer, Stille Klagen
8. Recitative: doch Gott Muss Mir Gnadig Sein
9. Aria: Tief Gebuckt Und Voller Reue
10. Recitative: Auf Diese Schmerzensreu
11. Chorale: Ich, Dein Betrubtes Kind
12. Recitative: Ich Lege Mich In Diese Wunden
13. Aria: Wie Freudig Ist Mein Herz

Amazon.com

Lorraine Hunt Lieberson has been scantily represented on CD, and that makes this gorgeous, deeply felt release all the more valuable. Here she sings two Bach cantatas composed for solo voice. Her mezzo is not particularly heavy, but it can darken or lighten expressively, and she uses its dusky qualities handsomely. Ich habe genug was originally written for solo bass, but Bach revised it a few years later. The way the voice works with and around a solo oboe (amid the accompanying strings) is beautiful. Of particular note are the aria "Schlummert ein"--a lullaby which Lieberson sings with a long, sustained, hushed tone--and the final aria, in which the singer looks forward to her death and eternal peace; the latter is remarkable for its joyful, flowery vocal line, as upbeat as the lullaby is serene. Lieberson catches the mood, and her rhythmic accuracy, leaning on the beat, brings out the joy in the singer's religious fervor. The second cantata, similarly scored with a prominent solo oboe, begins with a recitative ("My heart swims in blood") and is a confession of guilt; by its close the tone has again turned vivacious, as the sinner looks forward to salvation. Lieberson's voice is capable of level upon level of dynamics, her soft singing is as impressive as her more outgoing expressions. This is a beautiful disc from an important singer. --Robert Levine

Customer Reviews:

PROFILES OF BACH.......2007-06-29

My appreciation of the infinite musical genius of Bach only gains from hearing him interpreted by different artists. I already owned two formidable accounts of cantata 82, one from the great tenor Ian Bostridge in his debut disc, the other from a great bass (the work was originally written for a bass soloist) John Shirley-Quirk. Shirley-Quirk's performance dates from 1965, but he performs with the Academy of St Martin's under Marriner, and they were already committed to an `authentic' style in Bach and Handel. The authentic movement rapidly became `still more authentic' in the hands of, say, McCreesh, but Bostridge and Europa Galante in 2000, and now Hunt Lieberson with her Boston associates two years later, have settled for much the same style as Marriner's. She thus faces formidable competition (if that is any way to look at the matter), but the comparisons only invite gratitude and applause for the special excellence that each exhibits.

One thing that gives this disc a special appeal for me is that the instrumentalists are apparently freelancers. They are totally professional, but the professionalism manages to be combined with the special sense of enthusiasm that I associate more with good amateur music-making, a feeling of individuals coming together to make music together rather than the atmosphere of a band with contracts of tenure. The lengthy and garrulous liner-note tells us all about it, as well as much else. Lieberson's tempi are rather faster than those in the other sets, and the engineers have given her a more forward balance. No complaints from me, not when it is a voice like this. For exquisite vocal sound may I recommend in particular her low notes on `Schlummert ein' and the heavenly treatment of the imperfect cadence (a technical term of course) at `selig zu'.

I have no other account of cantata 199, an earlier work and not quite the equal of its great companion here. That makes this one all the more welcome, and the performance is fully on a par with the other. One interesting point is that the chorale is sung by Lieberson on her own, but as you might expect that gives me no kind of problem. This music is all radiant with Bach's perception of death as a gateway to final fulfilment, and it would be a very dull sort of atheist who can't sense and share the sheer transcendental greatness of the inspiration.

The recorded sound is just fine by me, provided there is no objection to the forward recording of the soloist, which is not overdone in the old manner by any means. The liner note is nothing if not informative, and I urge you to get through it to the end, with the help of a drink if necessary. Bach would not mind that in the least, if certain anecdotes about him are to be believed. Above all, this disc has brought the voice and musicianship of Lorraine Hunt Lieberson into my collection and into my home for the first time, and for that Wie freudig ist mein Herz.

Sublime!.......2007-05-13

Gorgeous phrasing, clear and crisp articulation of the musical intentions and a wonderful unity of ensemble. These are powerful emotional interpretations that will bring you to tears but there is no excessive romantic license taken, only a solid adherence to the rhythmic pulse and directionality of the harmonies. This is what the magic of music is all about with Bach, transforming us from base and despicable creatures into something divine, an alchemical procedure which this ensemble and Hunt-Lieberson perform with absolute mastery and transcendence. A great introduction for anyone who wants to become familiar with Bach's vocal works.

Ich habe genug - I have enough.......2007-02-19

I do not feel qualified to review this item but I find it sublime personally.

Lorraine Hunt Lieberson - Bach Cantatas.......2007-01-11

I first heard Hunt Lieberson only a few months ago, and was immediately moved by her voice and musicianship. These Bach Cantatas display an emotional and spiritual range and intensity that is at times unbearable. Her tragic personal story - she died recently after a struggle with cancer - lends an uncanny quality to the way she sings of suffering, despair and hope. The words never before held such depth. A profound experience.

Beautiful.......2007-01-05

I heard this recording on my public station and had to go and immediately buy it. This is one of the most beautiful recordings I have ever heard. Her voice is magical. I am not even an operatic afficianado and I love this CD.

Average customer rating: magisterial recordings from 1968 and 1961 Great recording of lesser works. Desert Island Disc stuff here! Sublime Rostropovich/Britten Recording is a Gem

Schubert, Debussy / Rostropovich, Britten Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Rostropovich, Master Cellist Brahms: The Cello Sonatas Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter Dvorak & Saint-Saens: Cello Concertos Beethoven: Complete Music for Cello & Piano ASIN: B00000JXZ3 Release Date: 1999-08-10

Tracks:

1. Sonata For Arpeggione And Piano, D821: I. Allegro moderato
2. Sonata For Arpeggione And Piano, D821: II. Adagio
3. Sonata For Arpeggione And Piano, D821: III. Allegretto
4. Funf Stucke im Volkston, Op. 102: I. Mit Humor
5. Funf Stucke im Volkston, Op. 102: II. Langsam
6. Funf Stucke im Volkston, Op. 102: III. Nicht schnell
7. Funf Stucke im Volkston, Op. 102: IV. Nicht zu rasch
8. Funf Stucke im Volkston, Op. 102: V. Stark und markiert
9. Sonata For Cello And Piano: I. Prologue
10. Sonata For Cello And Piano: II. Serenade
11. Sonata For Cello And Piano: III. Finale

Customer Reviews:

magisterial recordings from 1968 and 1961.......2006-09-13

These are indeed magisterial readings, actually dating from 1961 (Schumann and Debussy) and 1968 (Schubert), in superb transfers. The front cover of this Decca Legends CD reissue is a little misleading about these dates, but the inside pages are clear and awesomely complete about this info and more on the technical processes, with the welcome bonus of reproductions of the two original LP covers from which these three pieces are culled.

They are ample, highly-charged romantic readings, leisurely in tempo, hightlighting the brooding wistfulness of Schubert's sonata rather than its youthful geniality, with warm, lyrical, indeed vocal tone and a wealth of nuances from the cellist, magnificent attention to dynamics and articulation from the pianist and superb listening of each other. How can anyone hearing this call the arpeggione sonata a "minor" work eludes me. The same values are applied to the Debussy sonata, resulting in a highly original and convincing interpretation, far removed from the relative dryness that characterized the French tradition of interpretation of that piece (witness Maréchal and Casadesus 1946 recording, reissued by Sony in their complete Casadesus collection). Ample, brooding, profound, harrowing, conjuring an enigmatic sound-world, with the second movement cello pizzicatos explosive like a menacing jazz double-bass: at their hands the sonata sounds like a meditation on approaching death (this was indeed one of Debussy's last compositions) - almost like a composition of Britten, one is tempted to say, and it is hard to imagine it played otherwise after that experience.

Decca's reissue poses a tricky problem of coupling and duplication, though. The Debussy and Schumann originally came on an LP with Britten's cello/piano sonata, and the Schubert was initially paired with Frank Bridge's cello/piano sonata. Now Decca has aptly reissued the Britten in an homogeneous coupling with the composer's two first solo cello suites, performed again by Rostropovich, an indispensable disc for any Britten and/or Rostropovich admirer - or just music lover (Cello Suites). But the Bridge they have reissued on CD again with the Schubert, as in the original LP - an understandable choice if not very generous in terms of timing (52'), but one that imposes on the record buyer an irksome duplication with the present disc (Schubert: Sonata for Arpeggione and Piano; Bridge: Sonata for Cello and Piano).

Bridge was Britten's teacher, so the latter's advocacy of his music is perhaps understandable, yet the cello sonata sounds to me like a broodingly romantic but ultiately impersonal and dull affair, and if forced to chose I would rather be with Schubert-Schumann-Debussy (more favorable in timing too, with 59') than with Schubert-Bridge. However, if like I do you consider that anything recorded by Britten and Rostropovich is of significance, Decca has reissued the Bridge sonata in one of their "British Music Collection" (470-189-2), paired - not very generously in terms of timing (57') - with 3 tone poems recorded in 1996 by the Academy of Saint-Martin in the Fields led by Neville Marriner (originally published in a collection called English Seasons, with tone poems by Bax, Delius, Foulds and Grainger), plus a short song by Kathleen Ferrier. It seems available only from Amazon.uk, though.

Anyway - yes, this Schubert-Schumann-Debussy is indeed of legendary stature.

Great recording of lesser works........2005-08-09

The highlight of this recording is the Schubert sonata for the Arpegione,the obsoleteness of which resulted in a free-for-all competition for transcriptions.The arrangement for cello and piano is perhaps the most famous.And in this recording,Rostropovich and Britten's excellent mastery of the work makes it sound as if Schubert had written this sonata for the cello.The beautiful cantabile inspirations are played with astounding expressiveness from both Rostropovich are Britten.the Arpegione Sonata is perhaps not a great masterpiece.But with stupendously beautiful playing from these 2 artists of the highest calibre at their highest achievements,the sonata really becomes a chef-d'oeuvre.The Schumann Cello Pieces and the Debussy Cello Sonata are pretty much the same case.They are lesser known works from both composers.But under Rostropovich and Britten's marvellous playing,one must wonder why these 2 works can ever be considered as a sign of the dwindling of the composing powers of Schumann and Debussy.

Desert Island Disc stuff here!.......2005-03-12

This is chamber music at its absolute finest. Britten was a pianist of extraordinarily understated warmth and sensitivity and the perfect accompanist to Rostropovich's soaringly beautiful cello playing. This is really is a music date beyond the every day, where something truly magical occurred between two legendary musicians. Apart from this, the quality and tone of recording are second to none. Other reviewers on this site have sniffed slightly at the choice of music, dismissing the Schumann in particular as unsophisticated. Don't listen to them. This is playing of such beauty and passion that, if you are a fan of even just one of the composers featured here - Schubert, Schummann or Debussy - you simply cannot afford to ignore this.

Sublime.......2004-08-10

This is just a joy from the first play.

Schubert is IMO the preeminent master of chamber music as he was of lieder. This performance of a rarely performed gem should put debate to rest on that. After all Schubert only had an outlet for his chamber-scale pieces...his symphonies remained undiscovered for decades. His death at 31 is one of the greatest tragedies to befall civilization and if you think I'm exaggerating buy this disc.

I seem to glaze off through the Schumann although it is probably just not as interesting a composition as the other two, and it suffers by comparison. His concerto certainly demonstrates he understood the instrument so I will have to listen more attentively.

The Debussy is interesting to me because I haven't heard Rostro play much modern stuff outside of Russians and he does a remarkably effective job of it. I'm not sure I've been impressed more by an instrumentalist than Rostro but that might be as stupidly obvious a statement as my comments on Schubert above.

Rostropovich/Britten Recording is a Gem.......2002-05-01

This remastered 1968 Decca recording of the collaboration of cellist Mstislav Rostropovich and pianist Benjamin Britten is nothing less than a model of inspired chamber music performance. The most lovely part of the album is the duo's performance of the Schubert "Arpeggione" sonata. The simple work, often difficult to make interesting in performance because of its simplicity, shines like a rare gem due to the highly sensitive playing of Benjamin Britten. Added to this is Rostropovich's wonderfully song-like presentation of the composer's melodies.

While I find the duo's performance of the Schumann "Fuenf Stuecke im Volkston" to be somewhat stodgy, I have enjoyed becoming acquainted with the work through this recording. Although a bit dull, the music is still played with clear purpose and direction.

I originally bought this CD because I wanted to have a fine recording of the Debussy cello sonata. I was delighted to hear this intricately interwoven performance. Rostropovich's performance is clear in its execution and intent, yet appropriately murky in its impressionistic delivery. I often replay the performance immediately because of the excitement the two musicians exude.

For those interested in intricate chamber music performances, this CD is a "Must Have"!

Average customer rating: Music to your ears... Very relaxing to listen to Outstanding program Andre Rieu's Tuscany "Tuscany" is one of Andre Rieu's best shows! Excellent CD!

Tuscany Andre Rieu Manufacturer: Denon Records ProductGroup: Music Binding: Audio CD Waltzes | Ballets & Dances | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Respighi | Respighi, Ottorino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Strauss Jr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Rieu, Andre | ( R ) | Featured Performers, A-Z | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Beethoven, Ludwig van | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Mascagni, Pietro | ( M ) | Composers, A-Z | Classical Music Blowout | Stores | Music Offenbach, Jacques | ( O ) | Composers, A-Z | Classical Music Blowout | Stores | Music Puccini, Giacomo | ( P ) | Composers, A-Z | Classical Music Blowout | Stores | Music Respighi, Ottorino | ( R ) | Composers, A-Z | Classical Music Blowout | Stores | Music Rossini, Gioacchino | ( R ) | Composers, A-Z | Classical Music Blowout | Stores | Music Strauss Jr., Johann | ( S ) | Composers, A-Z | Classical Music Blowout | Stores | Music Rieu, Andre | ( R ) | Performers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Live In Dublin Romantic Moments At The Movies The Christmas I Love The Flying Dutchman ASIN: B0002SXIQ8 Release Date: 2004-09-21

Tracks:

1. Romance Anonyme - Jeux Interdits
2. I Love You
3. Italiana
4. Barcarolle
5. La Paloma
6. Lagune Waltz
7. Intermezzo From Cavalleria Rusticana
8. Roses From Tyrol
9. Chanson d'Amour
10. O Mio Babbino Caro From Madame Butterfly
11. William Tell Overture
12. Opera Medley
13. Italian National Anthem
14. Light Cavalry
15. Ode To Joy From Symphony No. 9

Customer Reviews:

Music to your ears..........2007-04-05

I can't say enough about this musician. The music will sooth your soul. A must have for your car CD player, it will help you through the traffic :}

Very relaxing to listen to .......2007-03-07

I'm a new fan to Andre Rieu. I didn't start getting into his music until I caught his Christmas special on my local PBS station last year. I found his performances highly energetic and playful which is rare in this often serious musical genre. After catching a repeat performance of "Tuscany", I decided to make the cd version my next Andre Rieu purchase. Whenever I listen to "Tuscany", I can easily see Andre Rieu performing with his orchestra. His skills as a violinist is exquisite. He is very subtle and is never out of tune. "Tuscany" begins with three of the most beautiful classical numbers I have ever heard. The beautiful orchestral melodies puts me at ease. I wished that the cd included "The Rose" (the Bette Midler tune) that can be seen on the dvd. I loved the operatic version. It would have been a nice addition to the cd. Of all the operatic numbers my favorite has to be "Ode to Joy". I have to admit though the singers have a terrible tendency to caterwaul on the songs which can be quite disconcerting for these ears. On the other hand the same can be said about a lot of opera singers as well as modern pop singers. There wasn't a single song on the cd that I didn't enjoy listening to. Andre Rieu's love for music really does shine through his music here. I hope some day I will have the opportunity to see him perform live. I don't think nothing can compare to seeing this talented artist live. Until then his cds will do nicely.

Outstanding program.......2007-02-10

What wouldn't I give to have been enjoying this magnificent program in that beautiful square in Italy? Fantastic performance of unbelievabe quality and program choices. I wouldn't trade this DVD for anything.

Andre Rieu's Tuscany.......2007-01-10

Haunting melodies taking you to the hills of Tuscany where this concert was originally held. Plays well while travelling as well as at home.

"Tuscany" is one of Andre Rieu's best shows! Excellent CD!.......2007-01-10

I'm an Andre Rieu fan and can definitely review this CD as one of his best! It was well-recorded with good sound quality, and you can hear the excitement of that evening in Tuscany as you listen to this CD. I would also recommend the DVD/Video of that performance.

Average customer rating: soothing great gift idea Everyday Cello 75 minutes of meditative music

Cello for Relaxation Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Bruch | Bruch, Max | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Delius, Frederick | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Fauré, Gabriel | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Franz Joseph Haydn | Haydn, Franz Joseph | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Liszt | Liszt, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tavener | Tavener, John Kenneth | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music $7.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Bach, Johann Sebastian | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Bruch, Max | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Chopin, Frédéric | ( C ) | Composers, A-Z | Classical Music Blowout | Stores | Music Delius, Frederick | ( D ) | Composers, A-Z | Classical Music Blowout | Stores | Music Dvorák, Antonín | ( D ) | Composers, A-Z | Classical Music Blowout | Stores | Music Fauré, Gabriel | ( F ) | Composers, A-Z | Classical Music Blowout | Stores | Music Haydn, Franz Joseph | ( H ) | Composers, A-Z | Classical Music Blowout | Stores | Music Liszt, Franz | ( L ) | Composers, A-Z | Classical Music Blowout | Stores | Music Offenbach, Jacques | ( O ) | Composers, A-Z | Classical Music Blowout | Stores | Music Saint-Saëns, Camille | ( S ) | Composers, A-Z | Classical Music Blowout | Stores | Music Schumann, Robert | ( S ) | Composers, A-Z | Classical Music Blowout | Stores | Music Tavener, John Kenneth | ( T ) | Composers, A-Z | Classical Music Blowout | Stores | Music Vivaldi, Antonio | ( V ) | Composers, A-Z | Classical Music Blowout | Stores | Music London Philharmonic Orchestra | ( L ) | Performers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Violin for Relaxation Guitar for Relaxation The Most Relaxing Cello Album in the World Ever Flute For Relaxation Piano for Relaxation ASIN: B00005KCH1 Release Date: 2001-06-19

Tracks:

1. Carnival Of The Animals: The Swan - Steven Isserlis/Michael Tilson Thomas/Dudley Moore
2. Canzone, Op.55 - Ofra Harnoy
3. Sicilienne, Op.78 - Steven Isserlis/Pascal Devoyon
4. Caprice & Elegy: Caprice - Janos Starker
5. Die Zelle In Nonnenwerth - Steven Isserlis/Stephen Hough
6. Chant - Steven Isserlis
7. Adagio & Allegro, Op.70: Adagio - Steven Isserlis/Christoph Eschenbach
8. Concerto Militaire in G: Andante - Ofra Harnoy
9. Ste No.6 in D, BWV 1012: Allemande - Janos Starker
10. Son in g, Op.65: Largo - Ofra Haynoy/Cyprien Katsaris
11. Con in g, RV 417: Andante - Ofra Harnoy
12. Funf Stucke In Volkston, Op.102: Langsam - Steven Isserlis/Christoph Eschenbach
13. Con in C, H.VIIB:1: Adagio - Steven Isserlis
14. Morceau De Concours - Steven Isserlis/Thomas Ades
15. From The Bohemian Forest: Silent Woods, Op.68 No.5 - Ofra Harnoy

Customer Reviews:

soothing.......2007-05-28

It's not a bad CD, although I believe there has got to be a better rendition of The Swan somewhere out there. The problem with this version is that the piano overwhelms the cello playing.

The rest of the CD is pretty nice and relaxing. Worth what I paid for it.

great gift idea.......2007-01-13

My wife is a lover of a good cello, so when I gave her this disc for Christmas, she loved it!

Everyday Cello.......2004-03-23

I bought this CD solely based on the fact that I love the cello. I do not pretend to know classical music - I buy what I like to hear, and this CD exceeded my expectations. It is such a pleasure to listen to this disk; it is soothing and every track is worth it!

75 minutes of meditative music.......2001-12-13

The cello is almost always the instrument I turn to for relaxation. It meditates upon a deeper, slower spectrum of emotion than say, a harp or violin.

I put this CD to the ultimate test and took it to the hospital with me, to see if its music could counteract the threat and ultimate deployment of needles---and it was indeed much less painful to be poked while in a state of relaxation, as induced by these (mainly 19th century) compositions.

My two favorite selections from "Cello for Relaxation" are Camille Saint-Saëns' "The Swan" from "Carnival of the Animals," and John Tavener's "Chant," which is an unaccompanied melody, "without barlines or meter, shaped as a palindrome." Steven Isserles performs as the cello soloist for both of these compositions.

In my continuing search for relaxation music, this CD now rates as number one. Its music was selected with a sensitivity to dynamics, and beautiful, adagio playing. Its musicality is superb and unobtrusively displayed, and allows the listener to meditate, or relax into much-needed sleep.

Average customer rating: Beautiful a voice teacher and early music fan The True Drama of the St. Matthew Passion My favorite too! Excellent work - but problems with sound level

Bach: Matthaus-Passion (St Matthew Passion) BWV 244 /Bostridge * Selig * Rubens * Scholl * Gura * Henschel * Collegium Vocale * Herreweghe (+CD-Rom) Collegium Vocale Gent Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music Opera & Vocal | Box Sets | Stores | Music Classical | Imports | Stores | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Bach, Johann Sebastian | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Bach: St. John Passion Bach: Mass In B Minor Bach - Mass in B minor / Argenta, Nichols, Chance, Stafford, Milner, W. Evans, Gardiner Bach: Mass in B minor / McNair, Ziegler, Simpson, Aler, Stone, Paul; Shaw Bach: The Art of Fugue; Musical Offering ASIN: B00002R0ZL Release Date: 1999-11-16

Tracks:

1. Kommt, ihr Toechter, helft mir klagen
2. Da Jesus diese Rede vollendet hatte
3. Herzliebster Jesu, was hast du verbrochen
4. Da versammleten sich die Hohenpriester / Ja nicht auf das fest / Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat / Da das Jesus merkete
5. Du lieber Heiland du
6. Buss und Reu
7. Da ging hin der Zwoelfen einer
8. Blute nur, du liebes Herz
9. Aber am ersten Tage der suessen Brot / Wo willst du, dass wir dir bereiten / Er sprach: Gebet ihn in die Stadt / Un sie wurden sehr betrubt / Herr, bin ich's
10. Ich bin's, ich sollte buessen
11. Er antwortete und sprach:
12. Wiewohl mein Herz in Traenen schwimmt
13. Ich willdir mein Herze schenken
14. Und da sie den Lobgesang gesprochen hatten
15. Erkenne mich, mein Hueter
16. Petrus aber antwortete
17. Ich will hier bei dir stehen
18. Da kam Jesus mit ihnen zu einem Hofe
19. O Schmerz! hier zittert das gequaelte Herz
20. Ich will bei meinem Jesu wachen
21. Und ging hin ein wenig
22. Der Heiland faellt vor seinem Vater nieder
23. Gerne will ich mich bequemen
24. Und er kam zu seinen Juengern
25. Was mein Gott will, das g'scheh' allzeit
26. Und er kam und fand sie aber schlafend
27. So ist mein Jesus nun gefangen / Sind Blitze, sind Donner in Wolken verschwunden
28. Und siehe, einer aus denen
29. O Mensch, bewein' dein Suende gross

Tracks:

1. Ach! nun ist mein Jesus hin
2. Die aber Jesum gegriffen hatten
3. Mir hat die Welt trueglich gericht't
4. Und wiewold viel falsche Zeugen herzutraten
5. Mein Jesus schweigt zu falschen Luegen stille
6. Geduld, Geduld!
7. Und der Hohepriester antwortete / Er ist des Todes schuldig / Da speieten sie aus in sein Angesicht / Weissage uns, Christe
8. Wer hat dich so geschlagen
9. Petrus aber sass draussen im Palast / Wahrlich, du bist auch einer von denen
10. Erbarme dich
11. Bin ich gleich von dir gewichen
12. Das Morgens aber heilten alle Hohenpriester / Was gehet uns das an / Und er warf die Silberlinge in den Tempel
13. Gebt mir meinen Jesum wieder
14. Sie heilten aber einen Rat
15. Befiehl du deine Wege
16. Auf das Fest aber hatte der Landpfleger / Lass in kreuzigen!
17. Wie wunderbarlich ist doch diese Strafe
18. Der Landpfleger sagte
19. Er hat uns allen wohlgetan
20. Aus Liebe will mein Heiland sterben
21. Sie schrieen aber noch mehr / Lass in kreuzigen! / Da aber Pilatus sahe / Sein Blut komme uber uns / Da gab er ihnen Barrabam los
22. Erbarm es Gott
23. Koennen Traenen meiner Wangen

Tracks:

1. Da nahmen Kriegsknechte / Gegruesset seist du, Judenkoenig / Und speieten ihn an
2. O Haupt voll Blut und Wunden
3. Und da sie ihn verspottet hatten
4. Ja! freilich will in uns das Fleisch und Blut
5. Komm, suesses Kreuz
6. Und da sie an die Staette kamen / Der du den Tempel Gottes zerbrichst / Desgleichen auch die Hohenpreister / Andern hat er geholfen / Desgleichen schmaeheten ihn
7. Ach, Golgatha, unsel'ges Golgatha
8. Sehet Jesus hat die hand
9. Und von der sechsten Stunde / Der rufet dem Elias / Und bald lief einer unter ihnen / Halt, lass sehen / Aber Jesus schriee abermals laut
10. Wenn ich einmal soll scheiden
11. Und siehe da, der Vorhang im Tempel zerriss / Wahrlich, dieser ist Gottes Sohn gewesen / Und es waren viel Weiber da
12. Am Abend da es kuehle war
13. Mache dich, mein Herze, rein
14. Und Joseph nahm den Leib / Herr, wir haben gedacht / Pilatus sprach zu ihnen
15. Nun ist der Herr zu Ruh gebracht
16. Wir setzen uns mit Traenen nieder

Amazon.com essential recording

The St. Matthew Passion, Bach's monumental retelling of the story of the Last Supper and the arrest and execution of Jesus, typically runs from two-and-a-half to three hours. Yet this performance makes the time... well, not exactly fly past (consider the subject matter), but it's not tedious for even a second. Much of the credit for this goes to the marvelous Evangelist, Ian Bostridge. He's an outstanding narrator: the clear tone and diction, skillful timing, and intense involvement with words that made him a famous lieder singer are all in evidence; his part consists of nothing but recitative, yet he holds your interest unfailingly. Franz-Josef Selig gives a more dramatic reading of Jesus than you usually hear these days--he may be a bit too "operatic" for some listeners, but he really communicates his character's very human anguish and sorrow. Similarly, soprano Sibylla Rubens, tenor Werner Güra, and bass Dietrich Henschel sometimes unleash a bit too much vibrato for some tastes, but their singing is full-throated and attractive and they're very sensitive to the nuances in the text and music. Superstar countertenor Andreas Scholl is the standout--he combines unearthly purity with very earthly feeling and blends beautifully with the baroque instruments. The real stars of the record, however, are Philippe Herreweghe and his remarkable choir and orchestra. This conductor and his musicians (especially his radiant choir, Collegium Vocale) have always been superb at conveying warmth, devotion, and contemplation, but intense joy, anguish, or anger have sometimes seemed beyond them. Not here: they cover the full emotional range of this work--from reverent reflection to anguished remorse to churning fury--without ever crossing the line into melodrama or sacrificing clarity.

On top of all this, you get a CD-ROM chock full of interesting and well-organized information (in English, German, and French): texts as well as an overview with a timeline of Bach's life, a discussion of how the work is put together, marvelous graphics, sound clips, and an extensive interview with Herreweghe himself. A superb accompaniment to a superb release. --Matthew Westphal

Customer Reviews:

Beautiful.......2007-02-03

Do not hesitate for a moment to purchase this CD/CD ROM package. I researched thoroughly the many recordings of this work, and I am very pleased to have decided on this one. It is a gorgeous, moving recording.

a voice teacher and early music fan.......2007-01-08

Bach (1685-1750), a Lutheran, was specifically asked by St. Thomas' Church, Leipzig, to supply a non-theatrical Passion. In this context passion stands for the act of passive suffering, of watching and occasonally empathising in the suffering of Christ, a development which began in the Middle Ages when the church took steps to popularise the Bible. When sung, the role of the Evangelist would be taken by a tenor and that of Jesus by a bass. As various instruments were added they began to be associated with certain roles and as with opera any dramatic action in the text occurred during the recitative. The chorus has two functions: to participate in the action and then to reflect upon it, such reflections provided by the chorales which were familiar Lutheran hymns.
The St. Matthew Passion was composed for the Good Friday service at the St. Thomas Church in Leipzig in 1727. As time went on Bach revised and added other pieces and subsequently this Passion became the grandest and the largest of his works. He used a Double Chorus, included a third soprano group for the opening and close of Part One, two orchestras split so that they either accompanied the first or the second chorus, four soloists who carry specific parts and a number of other singers who have other roles. The Gospel of Matthew, Chapters 26 and 27 plus traditional Lutheran chorales and meditative poems (by Henrici also known as Picander) provide the text.The Evangelist narrates the action scene by scene.
Although the work as a whole is somewhat heavy and sombre there are some lighter moments to treasure, and none more delightful than the soprano aria in Part One "Ich will dir mein Herze schenken" (I will give my heart to Thee). Part two contains the best known and loved aria from the work "Erbarme dich,mein Gott" (Have mercy, my God) for alto and violin obligato and pizzicato bass. The death is terse but dramatic as is the earthquake following with the heartrending crying "Walrlich dieser ist Gottes Sohn gewesen" (Truly this was the Son of (God). It all ends with a Sarabande-like chorale bidding Jesus to rest in peace.
The packageing of this edition is outstanding; the booklet includes absolutely all the documentation that one may need to fully comprehend this monumental work of Bach's. In addition, the the 3 CD's, there is a CD-Rom that explains the entire procedure for the production of this recording (in 3 languages:French,English and German).
The performance itself is excellent and beyond reproach. Ian Bostridge is all that one would desire in a tenor Evangelist; a joy just to hear his voice. Andreas Scholl gives one of the most emotional performances I have ever heard from him; he tends to be somewhat 'laid-back' in some renditons, but not in this one. Just my opinion; all you Scholl fans, don't get excited!!!!!I suggest you allow yourself an entire day to explore this wonderful musical experience.

The True Drama of the St. Matthew Passion.......2006-04-11

There are gratefully many recordings of Bach's great St. Matthew Passion from which to choose, and the approaches to this long and mighty work of inspiration are varied. While this listener cut his teeth of the old Klemperer recording now re-mastered from the LP days to CD, this recording under the sensitive and commanding control of Philippe Herreweghe has become the recording most favored for return listenings, especially during the Holy Week. Herreweghe obviously knows the work from intense study, a fact that gives him all the stamina to make the overall Passion work both musically and dramatically.

Herreweghe draws sumptuous playing from his Collegium Vocale Orchestra and Chorus, keeping the period sound intact while adding the contemporary trend for finding the operatic aspects of the work in the lead of all the other recordings. Of course he has an extraordinary group of soloists who give definitive performances. The leading actor is the Evangelist who guides us through the arrest and assassination the Jesus according to the Gospel of Matthew: Ian Bostridge not only has a beautiful tenor voice, rich and warm, but he also offers perfect enunciation of the text and delivers his comments with the exact amount of propelling drama. The role of Jesus is strongly delivered by Franz-Josef Selig and matches his competition (Fischer-Dieskau, Quasthoff and Goerne included!) in conveying both the agony and the transcendence of Bach's lines.

Add to this strong matrix the exquisite singing of Andreas Scholl and the solo work by Sibylla Rubens, Werner G?ra, Dietrich Henschel, Dominik Worner, Elisabeth Hermans, Susan Hamilton and Frits Vanhulle and the beauty of the drama is perfect. This is truly the most dramatic performance of Bach's most dramatic Passion and one to cherish for years. Highly Recommended. Grady Harp, April 06

My favorite too!.......2005-09-17

I own six different St. Matthew Passion recordings, and this is my favorite. Herrweghe gets it right. I am not a stickler for HIP, but prefer it. In my opinion this is the most balanced high quality HIP treatment of the St. Matthew available. Get it!

Excellent work - but problems with sound level.......2005-05-29

I have no complaints about the performance, with the exception of two points: (1) the bass can at times sound too sharp and loud; (2) there is a bit of showing off, desire to impress the listener. Otherwise the work is awesome, but I am irritated by the recording quality. I thought that I would get used to it, but as I continue to listen to it, it irritates me more and more. The sound level is unequal. It is either too low, or annoyingly too high. I simply cannot just turn on the CD and listen through without adjusting volume levels all the time. Music becomes too quiet, then it bursts into sudden loudness, sharp, unpleasant sounds, which is extremely vexing. This is the main reason for my not listening to this recording more often. To add insult to injury, the bonus CD does not work on my computer, but freezes and muddles up. If I knew about this, I wouldn't have bought these CDs. Fortunately, I have also Herreweghe I, which I prefer to this one. But my all time favourite is - HARNONCOURT.

Average customer rating: Fabulous Andre Rieu "Fiesta" Fiesta Not the best versions available This is a great album!

Fiesta André Rieu , Johann Strauss Orchestra , Georges Bizet , Gioachino Rossini , Mikis Theodorakis , Pascual Marquina , Vincent Youmans , Leo Ferré , E. Ramirez , Filippo Marchetti , Emmerich Kalman , Jacob Gade , P. Shott , Gerhard Winkler , Louis Louiguy , Glanzberg , Vincent Scotto , Luigi Denza , Scottish Traditional , Friedrich Schroder , and Anonymous Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Theodorakis | Theodorakis, Mikis | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Film Scores | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Rieu, Andre | ( R ) | Featured Performers, A-Z | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Easy Listening | Pop | Styles | Music Similar Items: The Vienna I Love, Waltzes From My Heart Andre Rieu in Concert At The Movies Roses from the South Tuscany ASIN: B000031WXB Release Date: 2000-01-01

Tracks:

1. Clavelitos
2. Espana Cani
3. Cielito Lindo
4. Seventh Heaven Of Love
5. Carmen: Ov
6. Hava Nagila
7. Tea For Two
8. Moulin Rouge/Paris Canaille
9. Sirtaki (Zorba's Dance)
10. Fascination
11. The Gipsy Princess Medley: Love, Love, Love!/The Swallow Song/How Could I Know?/Love, Love, Love!
12. William Tell: Ov
13. Jalousie
14. The Canals Of Amsterdam
15. Let's Go To Varasdin
16. Chianti-Lied
17. La Vie En Rose/Padam Padam/Sous Les Ponts De Paris
18. Funiculi Funicula
19. Auld Lang Syne

Customer Reviews:

Fabulous.......2005-10-23

This DVD is spectacular. Andre Rieu is absolutely fascinating to listen to and the costumes of the orchestra as gorgeous. Well worth every penny.

Andre Rieu "Fiesta".......2005-09-20

This CD is absolutely fantastic. There is no musician quite like Andre Rieu. His music does indeed lift the spirit.

Fiesta.......2005-09-12

The music lifts my spirits! It is fun and lighthearted. I sincerely recommend this CD by Andre Rieu.

Not the best versions available.......2002-02-12

First of all, why call this recording
"Fiesta"? only for the first four latin-american
works? because the rest of the cd is of
German music.I you want a real "Fiesta"
disc, I recomendation is that disc
of Keith Lockhart, is much more fun and
much more in a fiesta spirit than this one.

This is a great album!.......2002-01-02

I highly recommend this album. Andre Rieu is a great violinist. If you buy this album you will not be dissappointed. I'd give it ten stars if I could.

Average customer rating: Uhhh... It's Ok... Key songs are missing Nice mix of score and soundtrack Beautiful, sensitive, sad and hopeful. Dear Frankie- CD

Dear Frankie Manufacturer: Silva America ProductGroup: Music Binding: Audio CD All Works by Part | Part, Arvo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Film Scores | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: Dear Frankie Attila The Jury One More Kiss Dracula 2000 ASIN: B0002W18RU Release Date: 2005-03-08

Tracks:

1. Opening Title
2. Everyone Will Have Their Day - Clarksville
3. Frankie Reads
4. Stamp Album
5. Leave These Shores - Obi
6. A New Beginning
7. Spiegel Im Spiegel (Extract) - Arvo Part
8. Football
9. Secret Sun - Jesse Harris
10. Present From His Daddy
11. The Kiss
12. Your Friend Frankie
13. The Final Letter
14. Reprise - Clarksville

Amazon.com

The tale of a mother who poses as her son's estranged father in letters, yet eventually has to enlist a stranger to play the role, director Shona Auerbach's intimate indie became a film festival perennial. Given the movie's tearjerker tendencies, its musical score becomes an even more crucial component of its deft, if relatively non-manipulative dramaturgy. Young composer Alex Heffes more than rises to the occasion, providing a delicate score fueled by spare, elegant piano and emotionally-longing string arrangements. Heffes work here mines the same intimately scaled, soulfully resonant vein as Rachel Portman's Oscar-nominated music for Lasse Hallstrom's Ciderhouse Rules and Chocolat, a skillful musical tack that's openly emotional, yet seldom cloying. The contributions of modern rockers Clarksville (the buoyant "Everyone Will Have Their Day" and more intimate ballad "Reprise") and singer-songwriters Obi and Jesse Harris organically mesh with Heffes' score in a way that's all to rare in an era where pop songs often contribute little more than marketing shuck to film projects. --Jerry McCulley

Customer Reviews:

Uhhh... It's Ok..........2007-05-01

I really loved the movie and especially little Frankie. There where three songs that just stuck in my head for weeks, so I bought the CD... unfortunatly out of the three songs, only one was on the CD... I was alittle dissapointed but overall it is a good CD. I really like Jesse Harris. He is the best on the whole CD.

Key songs are missing.......2007-02-21

After watching "Dear Frankie" on cable several times, I decided to buy it and the soundtrack album. I did not read the detailed list of songs before buying. Although the soundtrack is good for what it is, I was disappointed that the song "Delicate" by Damien Rice was not included. Nor was the song about the "white horse" that was sung twice during the movie, once by Lizzie and once by the club singer. It would have been nice also to have the "Macarena" song which was in the movie.

Nice mix of score and soundtrack.......2007-02-07

This album is nice because it has all the score music along with all the other music played in the movie on one CD. The "Dear Frankie Main Title" is especially nice to have. I bought this CD for my sister for Christmas, but now the whole family wants to listen to it. I would recommend it for anyone that liked the movie!

Beautiful, sensitive, sad and hopeful. .......2007-01-21

I stumbled upon this quiet little movie and feel like I've discovered a wonderful jewel. I was immediately enamored by the soundtrack and worked hard to purchase it right away. The music along with a few dialogue excerpts communicate much of the emotion and power of the movie. There's one song that was, regrettably, not on the soundtrack but I recommend be added to the CD or your collection: Damien Rice, "Delicate" from the "O" album. The music communicates such a sense of loss and longing while maintaining just enough of a glimmer of hope that you end up feeling alright.

It's a wonderful soundtrack and definitely worth the purchase.

Dear Frankie- CD.......2007-01-09

I liked the music in the movie so much that I bought the CD and was not disappointed at all. It's wonderful and I listen to it constantly.

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