| 1. Epysodio Symphonico |
| 2. Aria |
| 3. Rigaudon |
| 4. Toada P'ra Voce |
| 5. Tempo De Cabocolinhos |
| 6. Sospiro |
| 7. Ponteio |
| 8. Spirto Gentil! |
| 9. Chorinho Natalino |
| 10. Moderato |
| 11. Amargura |
| 12. Preludio |
| 13. Improviso Sobre Movimentacao |
| 14. Interludio |
| 15. Tuads Maos |
| 16. Choros No. 1 (Chora Violao) |
| 17. Abertura Em Re |
Editorial Reviews
Product Description
2005 Album from the Famous Brazilian Reed Player of Both the Flute and Saxophone. Among the 17 Tracks Here Are "Toada P'ra Voce", "Tempo De Caboclinhos", "Abertura Em Re", "Chorinho Natalino", Among Others.
Bebel Gilberto's groundbreaking CD advanced Popular Music that year.
Tanto Tempo fills a Void.
Fireworks!
Bebel is someone people are going to remember.
Kids young and old, adore her!
A joy.
I bought three of her other CD's through Amazon today.
Bebel has alot to give the World.
Her Music moves things along for me!
Before and after Bebel Gilberto.
Awesome!
A refreshing twist on bossa and Brazilian music. A perfect entree to Bebel if you have never purchased any of her CDs.
Beware, however, that if you buy this her others are a "tad" behind this gem. (not to say they are bad at all, just saying this CD set the bar very high).
I was WRONG.
This is a beautiful album!It's impossible to choose highlights or a "Best Track" on this one,because it's PERFECT.Bebel Gilberto breathes new life into bossa nova with her singing.I look forward to listening to more of her music!
stuff is edited,bludgeoned,rather.
tempos verge on comical.
rather disapointing,I really needed a nice version of the sugar plum faerie dance.
will probably stick to Wendy Carlos's,cheesy,runningly cheesy,blue cheese smelly,even,as it might be,still holds the original pace and campy pomp.
...not nuch of a cheese shop is it?
-it's fairly clean.
certainly not contaminated by Cleese!
However, the sound quality on this albumn is quite poor and there are much higher quality Tchaikovsky recordings available.
There are a total of 31 pieces played on these CDs and while a playlist would be an unnecessary use of space here, a list of the composers represented is not. More than the specific pieces Segovia gives us here, the range of composers chosen by the compilers and editors - with each piece rearranged by Segovia himself, tells us a great deal about his interests, talents and musical range. These composers include:
Isaac Albeniz, Johann Sebastian Bach, Mario Castelnuovo-Tedesco, Frederic Chopin, Claude Debussy, John Dowland, Manuel de Falla, Cesar Franke, Girolamo Frescobaldi, Edvard Grieg, George Frederic Handel, Felix Mendelsohn, Frederico Moreno Torroba, Modest Mussorgsky, Nicolo Paganini, Felipe Pedrell, Manuel Ponce, Jean-Philippe Rameau, Joaquin Rodrigo, Albert Roussel, Domenico Scarlatti, Alexander Scriabin, Segovia's own composition of Estudio sin luz, Fernando Sor, Francisco Tarrega, Joaquin Turina and Heitor Villa-Lobos. A truly magnificent and broad ranging collection held together by Segovia's unique personal style, approach and sound.
Largely self-taught, Andres Segovia did things with a guitar that others only imagined. He didn't just play Bach, for example - music written for an entirely different type of instrument (keyboards.) He went a step further, and recorder Bach's keyboard lessons written for his students (the Two and Three Part Inventions) and made them sound as if they had been written for the guitar! His artistry is evident to even the casual listener and in this collection, any devote of classical guitar and/or of Segovia as an individual artist, will not be disappointed.
Perfect listening for anytime. Hypnotic and, simply, unsurpassed. A necessary addition to any serious classical guitar collection.
The debut album has a similar trademark to Enigma's album but the tracks stand out altogether with beauties like "Odin's Hill", "The Garden if Lisfaraine" and "Seeres Prophecy". Overall, "The Nine Worlds" is almost like a sequel to Enigma's third album from more than a decade ago.
This is highly recommended.
'Achilles' provides sweet and sensual beats with gregorian chants, soft guitar rifts, and a ethno-flavoured landscape. It should be noted that both Jens and his singer Helene are danish and this album is fashioned after numerous Danish folklore. Therefore you expect Danish lyrics and you do get a mixture of Latin and Danish with some English mixed in. All in all the mix is beautifully orchestrated and well-done.
The 12 tracks on this albums offers the listener pure music bliss, and it will take you on a journey that is much needed and is soul nourishing. There is no need to go through each track. This album will mean different things to all people who listen to it. Open your mind, have a open opinion and enjoy. I have and still do.
The first Achillea song I heard was "Cape Porcupine". It remains my favorite song from the album, and is representative of what you'll hear throughout The Nine Worlds. Helene Horlyck's vocal stylings are featured on over half of the album's tracks, and she shares writing credits on those. Her high end is somewhat breathy, and has a piercing edge that frustrates my appreciation of her contributions, but the lower end of her range is beautifully smooth. "Othila - The Rune Masters" is a welcome exception, which I can only attribute to its guest writer/producer, John Tonks.
The Nine Worlds is a great listen for a bit, but there isn't enough variety to make it a really great album. I'm perfectly happy to listen to the whole thing passively, but when I'm listening actively, I typically only get through the first five or six songs ("Odin's Hill" is a highlight I never skip) before changing CDs. I would expect your affinity for The Cross of Changes to be a good indicator of how much you'll like The Nine Worlds.
If you are after the lush percussive sensory smorgasboard of Enigma , you will be disappointed.
Put aside your preconceptions and open your mind to the pure spare instrumental arrangements accompanied beautifully by Helene Horlyks sublime ethereal vocals . Everything is pared back to a delightful minimalism that sometimes sounds so spacious that the songs seem otherworldly.
Definitely a match to the other great works of Delerium, Enigma , Amethystium etc
Better off finding a better performance of these if you really want to be "blown away". My favorite "Beethoven" conductor would have to be Herbert von Karajan; and as for individual pianists my all time favorite is Maurizio Pollini, whose performances are exquisite, in both technique and expression! If you are a music lover you should really check his work out if you haven't already. My favorite Beethoven CD by him is "Die Spaten Klaviersonaten" (Beethoven) by Deutsche Grammophon in their "legendary recordings" series. It is a real gem! (the sound quality is excellent also)
And that is a very remarkable good point in this musical moment where the pianist technique is eclipsing and even annulling the personal approach in the most of pianists all over the world. Honesty, conviction, vision and commitment dress those interpretations loaded of expression and personality.
In the great tradition of the great Beethovenian keyboard giants of the past, Daniel explores and plays every little bar with that well felt intensity of someone who in Beethoven `s there is much more than simple music. In Beethoven the music is not a goal by itself; but a revelation superior to any philosophy; all his musical legacy possess values that are placed of the standards. There is not art without second intention and that is precisely what Barenboim has made with this fabulous cycle of Beethoven Sonatas.
If you really want to listen remarkable performances far beyond of the trivial conventionalisms, go for this record.
Listeners contemplating the purchase of yet another Bach Unaccompanied set will also have to look to their own tastes in deciding whether Fischer fits the bill. Have you long since acquired, and exhausted, the classic Milstein performances? Did you find Perlman nicely polished, or just a bit too slick? Did you respond well to Kremer's impetuosity and drama, or consider his approach overly rough and improvisatory?
In the liner notes, Ms. Fischer tells us that for years she has warmed up every day with these pieces. It shows. She is obviously familiar with them, and her technical security and sense of "what comes next" have benefited. But with familiarity comes a certain complacency, and warmups can encourage a performer to emphasize sheer mechanics: pitch accuracy, evenly smooth bowing, perfect finger coordination, etc. That is what I personally hear as a guiding principle in most of these interpretations. They are soft-edged, maintaining steady tempi, using the middle third of the bow, employing subtle and consistent accents, phrasing, and dynamic emphases.
Nothing wrong with those choices. In many aspects, they may lie closer than some others to what Bach had in mind. But I found myself respecting Fischer's efforts rather than becoming involved in the music itself. In the end I went back to Hilary Hahn's debut disc (which includes some but not all of these works) in order to hear controlled and thoughtful Bach performances with more passion, more bite (bowing at the frog when needed), and more overall humanity.
The SACD recording is quite good, but if anything it emphasizes the mellow, moderated quality of these performances with a violin timbre that is never unpleasant but seldom provides the range of colors that one might hope to hear, even in Bach. Especially in Bach?
I think Ms. Fischer is heard to better advantage in her Pentatone recording of the Russian concertos -- maybe she didn't feel a "Romantic" approach was as appropriate for Baroque music. The result sounds curiously old-fashioned, however, especially given the recent tendency in historically informed Baroque performance to emphasize drama and individualistic expression (e.g., Rachel Podger, Andrew Manze). By comparison, Julia Fischer's Bach comes off as a careful effort by a recent conservatory graduate. Still worth hearing, but perhaps more as an emblem of her undeniable promise.
She is one of the best performers of Bach solo pieces if not the best. Milstein, Kagan, Grumiaux, Perlman are good. But she is something else. Timing, fluidity, expression I can go on and on. This is the most "musical" interpretation of these pieces I have heard so far.
I was surprised. It doesn't sound like she is young at all. According to Fisher, she played Bach every day. And she has been studying Bach since she was a little girl. No wonder she has attended to the details of it. The speed she took was relatively slow, especially for the Preludes and Sarabande. Her technique was impeccable, but it all sounded so natural. I once listened to Heifitz and I didn't quite like it. It sounded not like Bach. Fisher surely captured the elegance and warmth of one of Bach's most intelligent and intellectual works.
If you like Bach's Unaccompanied Sonata and Partita for Solo Violin, buy this. You won't regret. The recording quality was superb, too!
The most obvious technical requirement of this music is touch. In some of the etudes, complex voicings are required at very low dynamic levels. In others, the ability to bring out multiple voices is paramount. Aimard is perfect. His technique is so assured that we can easily get to the music and not be sidetracked by prowess.
Those who know Ligeti's music know how protean he could be. Like a good athlete, he was willing to take on enormous risks. Sometimes the result felt intellectualized and tiresome. But more often than not, the music soared. This is certainly true of the Etudes on this disk. They are studies in the truest sense of the word--one may focus on a particular set of intervals, another on a texture, yet another on a rhythm. Each one is fascinating and the collection holds together nicely. There are even hints of Nancarrow!
Ligeti himself felt ambiguously about the "Musica Ricercata", and it isn't hard to see why. The first piece is based on only two pitches (with octaves); the second on three and so on. It sort of proves a point, but what point? By the time you get to the fourth piece, it starts to get good, but the listener has to regain some flagging energy. The third piece is actually the basis of the opening of "6 Bagatelles for Wind Quintet".
So while I have little quibbles, I still recommend this disk strongly. It's great music, beautifully played.
Don't get me wrong. I think almost all of the studies on these tracks are good, maybe even almost as good as Chopin and Liszt, but I don't think so. We don't hum Ligeti etudes the way some people hum Chopin etudes or dances for piano. And, a few of the passages sound like the scene from 'Ghostbusters' where Bill Murray tickles the very high keys on Sigourny Weaver's piano as they enter her apartment to track down some particularly awesome apparitions of Zuel (sic) and Gozer (sic sic).
If you are looking to touch only the high points of Ligeti's music and don't have the compulsioin to own everything, you can pass on these and not be missing too much of the good stuff. Check out his choral and a capella works for the really hot stuff.
What we find in this CD, 3rd of an outstanding series, is the technical perfection made piano playing, in the hands of Aimard, who plays absolutely all the notes full of perfection, sense and correction, from the dynamic to the tempo, from the correct attack to the prodigious use of the pedal. If you are used to a romantic piano you can feel this versions a little cold or dry, but this is because Aimard goes directly to the heart of the XXth Century style of piano playing, in the line that comes from Schönberg-Berg-Webern and that goes in a different way of playing than the century before, so you can be lost in some sense about the way he understand the use of the piano, the playing, the technique, the echoes, the silences...
You'll find in this CD the Musica Ricercata, a work from Ligeti's first period, very easy to understand for those who are not used to listen this kind of "modern" music. It has many folk motives, used in a way very close to Bartók's style. One of this pieces (Musica ricercata: II. Mesto, rigido e cerimoniale) was taken by Stanley Kubrick for his last film Eyes Wide Shut, with an outstanding presence in the film associated to the worries and pressure over the main character; Ligeti says about this piece that it was a knife against the stalinist regime because of this style of music, sinister, innovative and forgiven in the communist Europe. The film's version is slower than this by Aimard, more "cinematographic" but slower than the score asks. Aimard's version in this piece and in the full pieces are outstanding.
The rest of the CD it's based on the Etudes, books I & II, both of them complete. Those are pieces much more modern than the Musica Ricercata, some of them, in the words of Ligeti with some links and inspiration on Nancarrow's works. We are listening in this case some of the most complex works for piano written in the XXth Century, and many of them authentic jewels of the genre. The Aimard versions for Sony are the better I know from the French pianist, who have recorded some of them in other CDs, like his great recording from de Carnagie Hall (Warner), but not so good like this outstanding CD.
So, if you are looking for perfection in Ligeti's piano music performances don't doubt about this CD; if you want to discover the piano of the XXth Century this could be a great door to go into, because of the music, because of the performing and because of a perfect recording and booklet.
The recording quality in this series is outstanding, and it is a delight to see the breadth of this series. Having many works of Ligeti from the Wergo vinyl catalog of the 70's, I selected the piano works for the fun of discovery.
Those of you who enjoy this piano stuff should try to find Nina Deutsch's recording of Charles Ives: Solo Piano Music.
In Opera Proibita, Bartoli's repertoire not only reflects on her as a consummate vocal artist but also as the ultimate scholar. Rarely an opera singer would dig this dip and go that far to unearth great scores from total obscurity. Even more uncommonly a singer would take the challenge of singing these arias without the risk of ridiculing herself, but to the contrary establishing a new record and precedent.
Her execution of the Handel arias is truly astonishing in coloratura and melismas probably not heard for three hundred years when only the best castrati commanded the virtuosity to tackle these arias. Also surprising and refreshing was to hear works by Handel that show his wild side.
Bartoli brings this album to a high climax with the arias from Il Trionfo del Tempo e del Disinganno. This is really her realm and true medium. Her vocal runs in "Un pensiero nemico di face" sound like a first violin, and as if this was not difficult enough she ornaments the da capo melismas in tempo from allegro to presto molto vivace, and transitions into a note crescendo with great ease and certainty. Wonderful!
Alas, starting from her Vivaldi Album, I do not find her singing that beautiful any more. True, the songs picked there are technically very challenging, used to be sung by male castrato singers. The songs picked here are even more difficult.
BUT - is singing just about technique?
There are some songs in the Vivaldi Album that have the vocal musical lines broken in places. Here in Opera Proibita, almost every song has this problem, even the slow ones of Caldara. Compare her singing in the earlier part of her career, her early Mozart operas, I could not help but wonder if Ms. Bartoli has taken the correct turn in her career: her forced high notes, though squarely hit, do not sound at all pleasing; her runs and trills, though taken accurately at great tempi, is no longer truly musical. Compare her singing with the other two great baroque mezzo-sopranos Bernarda Fink and the tragically short-lived late Lorraine Hunt Lieberson, you would understand what I mean.
With the latest turn in Ms. Bartoli's singing, I am being forced to admit that this is a singer of great technical brilliance and enormous fame, but not at all pleasing to the ear.
Cecilia Bartoli just "does it" for me almost every time. She is just fantastic in my books. I love her dearly. She can give one an adrenalin rush with her bravura singing and then break one's heart with her pathos.
This is a superb collection of Baroque arias from "almost" operas! ;-))
I also liked the cheeky and none-too-subtle references to La Dolce Vita on
cover and the images inside the disc. Nice to see an opera singer with a playful sense of humour!
I am listening to this disc as I write this review and all I can say is that I love this disc and it is clearly one of the best Signorina Bartoli has released, although I like all of her recordings. Listen to track 12 and you will buy this disc.
More, please!
PS: How about DECCA getting Cecilia Bartoli and Andreas Scholl together for a musical project? I'd love to see two of my favourite singers together on the one disc.
PSPS: If you like Opera Proibita, buy Andreas Scholl's Arcadia and Arias for Senesino, too!
2005 Album from the Famous Brazilian Reed Player of Both the Flute and Saxophone. Among the 17 Tracks Here Are "Toada P'ra Voce", "Tempo De Caboclinhos", "Abertura Em Re", "Chorinho Natalino", Among Others.
Tempo Caboclo,Mauro Senise,Biscoito Fino,World Music
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Tanto Tempo
Bebel Gilberto Manufacturer: Six Degrees ProductGroup: Music Binding: Audio CD  General
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ASIN: B00004SWJX Release Date: 2000-04-25 |
Tracks:
- Samba De Bencao
- August Day Song
- Tanto Tempo
- Sem Contencao
- Mais Feliz
- Alguem
- So Nice (Summer Samba)
- Lonely
- Bananeira
- Samba E Amor
- Close Your Eyes
Amazon.com's Best of 2000
Her father may be the legendary Brazilian guitarist Joao Gilberto, but in 2000 daughter Bebel proved that she understands the bossa nova, too. There's a subtlety throughout this recording that makes Bebel's voice entrancing, as she re-creates the sensual essence of bossa nova before running with it into electronic territory toward the album's end. Tanto Tempo is an even-tempered statement that manages to showcase Bebel's own sexy voice while gracefully remembering the past. --Karen K. HuggAmazon.com
Daughter of the famed Brazilian pop and bossa nova singer João Gilberto, Bebel recalls her father's own classic recordings on Tanto Tempo, with a sure sense of pitch. Bebel Gilberto is hardly less charming for that, though, and the album entices with hushed passion. Relying mostly on acoustic instruments and some muted orchestrations, Tanto Tempo is nonetheless smartly paced to allow for some tasteful dance-club electronics to augment a few tracks, and ends on a celebratory note with "Close Your Eyes"--all but an invitation to Carnival. The current trend for things Brazilian should assure this disc a deservedly wide audience. Licensing it for the U.S. is another minor triumph for the fine San Francisco-based label Six Degrees. --Rickey WrightCustomer Reviews:
Groundbreaking Tanto Tempo By Bebel Gilberto.......2007-05-31
Bebel Gilberto's groundbreaking CD advanced Popular Music that year.
Tanto Tempo fills a Void.
Fireworks!
Bebel is someone people are going to remember.
Kids young and old, adore her!
A joy.
I bought three of her other CD's through Amazon today.
Bebel has alot to give the World.
Her Music moves things along for me!
Before and after Bebel Gilberto.
Awesome!
Great and refreshing.......2007-05-10
A refreshing twist on bossa and Brazilian music. A perfect entree to Bebel if you have never purchased any of her CDs.
Beware, however, that if you buy this her others are a "tad" behind this gem. (not to say they are bad at all, just saying this CD set the bar very high).
Interesting Twist on Bossa Nova.......2007-05-06
Bask in Brazilian music.......2006-06-14
I was WRONG.
This is a beautiful album!It's impossible to choose highlights or a "Best Track" on this one,because it's PERFECT.Bebel Gilberto breathes new life into bossa nova with her singing.I look forward to listening to more of her music!
Very good music.......2006-05-25
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25 Tchaikovsky Favorites
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ASIN: B0000058HZ Release Date: 1996-08-20 |
Tracks:
- Overture
- Dance Of The Sugar Plum Fairy
- Dance Of The Flutes
- Scene
- Waltz
- Dance of the Swans
- Scene 2
- Hungarian Dance
- III. Scherzo
- I. Adagio; Allegro Non Troppo
- II. Allegro Con Grazia
- III. Allegro Molto Vivace
- II. Andante Cantabile
- Capriccio Italien In A Major, Op. 45
- Marche Slave In B Flat, Op. 31
- June - Michael Ponti
- II. Andantino Simplice - Felicja Blumental
- Coronation March
- Eugen Onegin: Waltz
- Romeo & Juliet: Fantasy-Overture
- Serenade For Strings: II. Waltz
- Sleeping Beauty: Tempo Di Valse
- String Quartet In D Major, Op. 11: Andante Cantabile
- Violin Concerto In D Major, Op. 35: III. Allegro Vivacissimo - Aaron Rosand
- 1812 Overture, Op. 49: Excerpt
Customer Reviews:
hmmmm.......2005-09-14
stuff is edited,bludgeoned,rather.
tempos verge on comical.
rather disapointing,I really needed a nice version of the sugar plum faerie dance.
will probably stick to Wendy Carlos's,cheesy,runningly cheesy,blue cheese smelly,even,as it might be,still holds the original pace and campy pomp.
...not nuch of a cheese shop is it?
-it's fairly clean.
certainly not contaminated by Cleese!
Good Introduction but poor quality.......2005-09-12
However, the sound quality on this albumn is quite poor and there are much higher quality Tchaikovsky recordings available.
Tchaikovsky's Greatest Pieces of Music.......2000-09-04
great music poorely performed........1999-09-18
Great!.......1999-04-18
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Beethoven for Babies
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ASIN: B000009OU6 Release Date: 1998-08-11 |
Tracks:
- Six National Airs With Variations, Op. 105: The Cottage Maid (Welsh)
- Six National Airs With Variations, Op. 105: The Last Rose Of Summer (Irish)
- Six National Airs With Variations, Op. 105: Chiling O'Guirg (Irish)
- Six National Airs With Variations, Op. 105: English Bulls (Irish)
- Ten National Airs With Variations, Op. 107: St. Patrick's Day (Irish)
- Ten National Airs With Variations, Op. 107: O Mary, At The Window Be (Scottish)
- Ten National Airs With Variations, Op. 107: Oh, Thou Are The Lad Of My Heart (Scottish)
- Ten National Airs With Variations, Op. 107: Fur Elise
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 8 In C Minor ('Pathetique') - Adagio cantabile
- Ten National Airs With Variations, Op. 107: String Quartet No. 13 In B-Flat - Alla Danza Tedesca. Allegro assai
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 7 In D - Menuetto (Allegro)
- Ten National Airs With Variations, Op. 107: The Creatures Of Prometheus - Finale. Allegretto
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 18 In E-Flat - Menuetto (Moderato e grazioso)
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 20 In G - Tempo di menuetto
- Ten National Airs With Variations, Op. 107: Symphony No. 8 In F - Allegro scherzando
- Ten National Airs With Variations, Op. 107: Symphony No. 9 In D Minor ('Choral') - Ode To Joy
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 15 In D ('Pastoral') - Rondo (Allegro ma non troppo)
- Ten National Airs With Variations, Op. 107: Symphony No. 6 In F ('Pastoral') - Hymn Of Thanksgiving
Amazon.com
For the parent looking to ease their child into a familiarity with classical music, this is a very well chosen set of Beethoven works. It begins with a generous selection of airs composed late in the composer's life. The presence of the flute as the lead instrument on these selections has a soothing quality that moves the ear in an ideally subtle way, especially as it gives way to the more excited piano sonata pieces. Zoltán Kocsis's reading of "Pathétique" is followed by Claudio Arrau's take on the 7th, 15th, and 18th sonatas and Sviatoslav Richter's lyrical take on the 20th ("Pastoral"). Programmed amidst the piano pieces, which are great studies in dynamics and musical spacing, are some fine orchestral snippets, none longer than five minutes. The collection does a fine balancing act, condensing works that don't inherently lend themselves to shortened renditions and carefully managing moods, entry, and egress to each segment. This is fine anthology work. --Andrew BartlettCustomer Reviews:
Beethoven for Babies.......2007-05-21
Nicest classical CD I have found for my baby (& me).......2005-09-01
Ode To Beethoven.......2005-05-13
Pseudoscientific crap, but some of the music is good here.......2004-05-27
That having been said, if you are stupid enough to believe any of this "Mozart Effect" horse manure --- which continues to have no support in any sort of controlled test environment --- then your babies will probably inherit your limited intellectual capacities & no amount of Beethoven & Mozart will ever be able to help them.
If, on the other hand, you are introducing Junior to classical music, you could do worse --- but you could also do better. Go get Arrau's complete Beethoven sonatas & concerti, get the Berg Quartett's complete Beethoven quartet cycle, and get John Eliot Gardiner's complete Beethoven symphonies --- just for a start. Also, don't stop with Beethoven & Mozart. My 9-month old daughter gets a diverse exposure to a thousand years of music, and very little is off limits. She got acquainted with the Bartok Quartets within her first couple of months, and it doesn't look like we have created an axe murderer or anything like that.
Anyway, if you want to create a classical music lover, do it right and go the distance, rather than doing it piecemeal with CDs like this. Your baby may still be a moron, but at least will be a moron with exquisite taste.
Nicest classical music CD I've found for my baby (& me).......2003-11-23
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Handel - Il trionfo del Tempo e del Disinganno
Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD All Works by Handel
| Handel, George Frideric
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ASIN: B000F3T3E6 Release Date: 2007-05-08 |
Tracks:
- Sonata: Allegro-Adagio-Allegro
- Aria: Fido Specchio, In Te Vagheggio
- Recitativo: Io, Che Sono Il Piacere
- Aria: Fosco Genio, E Nero Duolo
- Recitativo: Ed Io, Che 'L Tempo Sono
- Aria: Se La Bellezza Perde Vaghezza
- Recitativo: Dunque Si Prendan L'Armi
- Aria: Una Schiera Di Piaceri
- Recitativo: I Colossi Del Sole
- Aria: Urne Voi, Che Racchiudete
- Recitativo: Sono Troppo Crudeli I Tuoi Consigli
- Duetto: Il Voler Nel Fior Degl'Anni
- Recitativo: Della Vita Mortale
- Aria: Un Pensiero Nemico Di Pace
- Recitativo: Folle, Tu Nieghi Il Tempo
- Aria: Nasce L'Uomo
- Aria: L'Uomo Sempre Se Stesso Distrugge
- Recitativo: Questa E La Reggia Mia
- Sonata: Taci: Qual Suono Ascolto?
- Aria: Un Leggiadro Giovinetto
- Recitativo: Ha Nella Destra L'Ali
- Aria: Venga Il Tempo
- Aria: Crede L'Uom Ch'Egli Riposi
- Recitativo: Tu Credi Che Sia Lungi
- Aria: Folle, Dunque Tu Sola Presumi
- Recitativo: La Reggia Del Piacere Vedesti
- Quartetto: Se Non Sei Piu Ministro Di Pene
Tracks:
- Recitativo: Se Del Falso Piacere
- Aria: Chiudi, Chiudi I Vaghi Rai
- Recitativo: In Tre Parti Divise
- Aria: Io Sperai Trovar Nel Vero
- Recitativo: Tu Vivi Invan Dolente
- Aria: Tu Giurasti Di Mai Non Lasciarmi
- Recitativo: Sguardo, Che Infermo Ai Rai Del Sol Si Volge
- Aria: Io Vorrei Due Cori In Seno
- Recitativo: Io Giurerei, Che Tu Chiudesti I Lumi
- Aria: Piu Non Cura
- Recitativo: E Un Ostinato Errore
- Aria: E Ben Folle Quel Nocchier
- Recitativo: Decesti Il Vero, E Benche Tardi Intesi
- Quartetto: Voglio Tempo Per Risolvere
- Recitativo: Presso La Reggia Ove Il Piacer Risiede
- Aria: Lascia La Spina
- Recitativo: Con Troppo Chiare Note
- Aria: Voglio Cangiar Desio
- Recitativo: Or Che Tiene La Destra
- Aria: Chi Gia Fu Del Biondo Crine
- Recitativo: Ma Che Veggio, Che Miro?
- Aria: Ricco Pino Nel Cammino
- Recitativo: Si, Bella Penitenza
- Duetto: Il Bel Pianto Dell'Aurora
- Recitativo: Piacer, Che Meco Gia Vivesti
- Aria: Come Nembo Que Fugge Col Vento
- Recitativo: Pure Del Cielo Intelligenze Eterne
- Aria: Tu Del Ciel Ministro Eletto
Amazon.com
Handel's earliest oratorio, dating from 1707, is an allegory in which the character of Beauty is tempted to a life of hedonism by Pleasure but is reasoned with by Time and Enlightenment and turns into a modest, better-balanced type. If this sounds dull, it isn't. The young Handel, in Rome at the time, composed some of his most wonderfully Italianate melodies and was at the peak of his inspiration. Handelians will recognize bits in this work that he later used elsewhere. This performance is now the best available; while the one led by Rinaldo Alessandrini is excellent, here the always original and clever Emmanuelle Haim leads a superb cast, with Natalie Dessay (who has nine arias!) and Sonia Prina absolutely perfect and Ann Hallenberg and Pavol Breslik not far behind. Handel re-adapted this work at the end of his career, by the way, to an English translation. This is a sheer delight. --Robert Levine
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Art of Segovia
Andres Segovia Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B00006B66L Release Date: 2002-10-08 |
Tracks:
- Andante
- Andantino
- Lento
- Romance De Los Pinos
- Madronos
- Serenata Burlesca
- Variations On A Theme From Mozart's 'The Magic Flute'
- Mesto E Calmo
- Theme, Variations & Finale
- Cancion Mexicana No.X
- Sevillana, Op.29
- Sarabanda
- Capriccio Diabolico, Op.85
- Tonadilla For Guitar On The Name Of Andres Segovia
- No.1 In E Minor
- No.3 In A Minor
- Guitarreo
- Segovia, Op.29
Tracks:
- If My Complaints
- Now, O Now I Need Must Part
- Sarabande
- 1. Prelude (Transposed In D Major)
- 4. Tempo Di Bourree
- Courante
- 3. Gavotte En Rondeau
- Aria E Corrente
- Moderato
- Menuet In G Major
- Andantino Variato
- No.7 In A Major
- 2. Canzonetta
- 2. Quasi Lento (Preludio)
- 1. Andantino Poco Allegretto (Allegretto)
- 2. Il Vecchio Castello
- Allegretto
- Tres Calme Et Doucement Expressif
- No.4 In E Flat Minor
- 5. Asturias. Leyenda - Preludio
- 7. Zambra Granadina
- Estudio Sin Luz
- Allegro Con Brio
Amazon.com
DG has put together a fascinating compilation of Segovia's art that reminds us what a protean figure he was. Segovia single-handedly put the instrument on the map by making classical guitar concerts popular events, broadening the instrument's repertory through commissions and transcriptions, and convincing even doubters that it could be a vehicle for serious music. He's heard here in brief pieces recorded between 1952 and 1969. Even in those made when he was well into his 70s, his fingers remain nimble and interpretations lively. Listening straight through, one hears many all-time Segovia favorites as Turina's Sevillana and Albeniz's Asturias and Zambra Granadina and renews appreciation for path-breaking composers like Castelnuovo-Tedesco. He wrote extensively for Segovia and his Capriccio diabolico and Tonadilla are pieces of real substance. Disc two is largely made up transcriptions and it's amazing how well so many of them work on the guitar, at least under Segovia's magic fingers. Thus the transformations of Bach's violin music and even a Chopin Prelude sound idiomatic, and the gorgeous melodies of the Canzonetta from Mendelssohn's Op. 12 String Quartet are irresistible here. An entrancing set. --Dan DavisCustomer Reviews:
A Man and His Art - Magnificently Captured.......2007-04-06
There are a total of 31 pieces played on these CDs and while a playlist would be an unnecessary use of space here, a list of the composers represented is not. More than the specific pieces Segovia gives us here, the range of composers chosen by the compilers and editors - with each piece rearranged by Segovia himself, tells us a great deal about his interests, talents and musical range. These composers include:
Isaac Albeniz, Johann Sebastian Bach, Mario Castelnuovo-Tedesco, Frederic Chopin, Claude Debussy, John Dowland, Manuel de Falla, Cesar Franke, Girolamo Frescobaldi, Edvard Grieg, George Frederic Handel, Felix Mendelsohn, Frederico Moreno Torroba, Modest Mussorgsky, Nicolo Paganini, Felipe Pedrell, Manuel Ponce, Jean-Philippe Rameau, Joaquin Rodrigo, Albert Roussel, Domenico Scarlatti, Alexander Scriabin, Segovia's own composition of Estudio sin luz, Fernando Sor, Francisco Tarrega, Joaquin Turina and Heitor Villa-Lobos. A truly magnificent and broad ranging collection held together by Segovia's unique personal style, approach and sound.
Largely self-taught, Andres Segovia did things with a guitar that others only imagined. He didn't just play Bach, for example - music written for an entirely different type of instrument (keyboards.) He went a step further, and recorder Bach's keyboard lessons written for his students (the Two and Three Part Inventions) and made them sound as if they had been written for the guitar! His artistry is evident to even the casual listener and in this collection, any devote of classical guitar and/or of Segovia as an individual artist, will not be disappointed.
Perfect listening for anytime. Hypnotic and, simply, unsurpassed. A necessary addition to any serious classical guitar collection.
What can you say - it's Segovia!.......2007-02-10
EVERYBODY KNOWS.......2007-01-13
Immortal guitar.......2006-08-02
WOW.......2006-02-23
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The Nine Worlds
Achillea Manufacturer: Sequoia Records ProductGroup: Music Binding: Audio CD General
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ASIN: B0009XT87Y Release Date: 2005-08-02 |
Tracks:
- Achillea - Prelude
- Ragnarok - Twilight of the Gods
- Odins Hill
- The Monks of Lindisfarne
- Cape Porcupine
- The Seeress Prophecy (Daydreaming)
- Land of the Elves
- Shears from Scar
- The Nine Worlds
- Staraja Ladoga
- Othila - The Rune Masters
- Achillea - Exodus
Album Description
From the co-creator of ENIGMA !Highly acclaimed co-producer and guitarist of the multi-platinum group Enigma, Jens Gad brings you a spellbinding downtempo musical odyssey into the ancient mythology of his Scandinavian homeland. He is joined by the entrancing classical vocals of Helene Horlyck, to co-create a sophisticated and hypnotic chill-out journey through "The Nine Worlds" of archaic legend. At once stirring and calming, entertaining yet relaxing, Achillea achieves a vibrantly new and hauntingly beautiful musical vision that artfully blends evocative ambient New Age atmospheres with European dance club electronica. Achillea elegantly weaves the mystery of ancient myth - a world of seers, elves, and rune masters, into a lush, richly layered sonic landscape with velvety melodies of delicately bluesy guitar playing, slow sensuous grooves and silky smooth vocals sung in Latin and ancient Swedish. Both intimate and cinematic, this uniquely transcendent masterpiece is full of deep beauty and mysterious wonder that will nourish your soul.
"Achillea is the new project for producer/guitarist Jens Gad, co-producer, co-writer and one of the central creative forces behind popular group Enigma (alongside Michael Cretu). For his first solo project, Gad presents an atmospheric album of tunes themed after Danish myth. Enigma fans should definitely take note, as there are many common denominators between both groups: the same laid-back "Enigma-style" beats, Gregorian chant, whispery vocals and Gad's signature electric guitar. Achillea differs by offering an album steeped in dreamy ambience. This album slower paced and more ethereal, making it better suited for the mind than the dance floor. Adding to the appeal is the wispy, sensual vocals of singer Helene Horlyck, who sings on many of the tracks. Serene, slightly trippy and sure to bring on a bout of Enigma nostalgia, this is a must for worldbeat/chill music fans." - Music Design In Review
Customer Reviews:
Austerity and beauty all mesh on "The Nine Worlds"........2007-02-11
The debut album has a similar trademark to Enigma's album but the tracks stand out altogether with beauties like "Odin's Hill", "The Garden if Lisfaraine" and "Seeres Prophecy". Overall, "The Nine Worlds" is almost like a sequel to Enigma's third album from more than a decade ago.
This is highly recommended.
Ambience Spectacular!.......2006-11-27
'Achilles' provides sweet and sensual beats with gregorian chants, soft guitar rifts, and a ethno-flavoured landscape. It should be noted that both Jens and his singer Helene are danish and this album is fashioned after numerous Danish folklore. Therefore you expect Danish lyrics and you do get a mixture of Latin and Danish with some English mixed in. All in all the mix is beautifully orchestrated and well-done.
The 12 tracks on this albums offers the listener pure music bliss, and it will take you on a journey that is much needed and is soul nourishing. There is no need to go through each track. This album will mean different things to all people who listen to it. Open your mind, have a open opinion and enjoy. I have and still do.
Pretty nice music, a little bit short of Enigma........2006-11-22
If you liked Enigma's "Cross of Changes"..........2006-11-14
The first Achillea song I heard was "Cape Porcupine". It remains my favorite song from the album, and is representative of what you'll hear throughout The Nine Worlds. Helene Horlyck's vocal stylings are featured on over half of the album's tracks, and she shares writing credits on those. Her high end is somewhat breathy, and has a piercing edge that frustrates my appreciation of her contributions, but the lower end of her range is beautifully smooth. "Othila - The Rune Masters" is a welcome exception, which I can only attribute to its guest writer/producer, John Tonks.
The Nine Worlds is a great listen for a bit, but there isn't enough variety to make it a really great album. I'm perfectly happy to listen to the whole thing passively, but when I'm listening actively, I typically only get through the first five or six songs ("Odin's Hill" is a highlight I never skip) before changing CDs. I would expect your affinity for The Cross of Changes to be a good indicator of how much you'll like The Nine Worlds.
Austere Ethereal Beauty.......2006-08-30
If you are after the lush percussive sensory smorgasboard of Enigma , you will be disappointed.
Put aside your preconceptions and open your mind to the pure spare instrumental arrangements accompanied beautifully by Helene Horlyks sublime ethereal vocals . Everything is pared back to a delightful minimalism that sometimes sounds so spacious that the songs seem otherworldly.
Definitely a match to the other great works of Delerium, Enigma , Amethystium etc
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Beethoven: Complete Piano Sonatas / Daniel Barenboim
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Beethoven
| Beethoven, Ludwig van
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ASIN: B00000C2KP Release Date: 1998-10-20 |
Tracks:
- Sonata No.1 In F Minor, Op.2 No.1: Allegro
- Sonata No.1 In F Minor, Op.2 No.1: Adagio
- Sonata No.1 In F Minor, Op.2 No.1: Menuetto: Allegretto
- Sonata No.1 In F Minor, Op.2 No.1: Prestissimo
- Sonata No.2 In A Major, Op.2 No.2: Allegro vivace
- Sonata No.2 In A Major, Op.2 No.2: Largo appassionato
- Sonata No.2 In A Major, Op.2 No.2: Scherzo: Allegretto
- Sonata No.2 In A Major, Op.2 No.2: Rondo: Grazioso
- Sonata No.3 In C Major, Op.2 No.3: Allegro con brio
- Sonata No.3 In C Major, Op.2 No.3: Adagio
- Sonata No.3 In C Major, Op.2 No.3: Scherzo: Allegro
- Sonata No.3 In C Major, Op.2 No.3: Allegro assai
Tracks:
- Sonata No.5 In C Minor, Op.10 No.1: Allegro molto e con brio
- Sonata No.5 In C Minor, Op.10 No.1: Adagio molto
- Sonata No.5 In C Minor, Op.10 No.1: Finale: Prestissimo
- Sonata No.6 In F Major, Op.10 No.2: Allegro
- Sonata No.6 In F Major, Op.10 No.2: Allegretto
- Sonata No.6 In F Major, Op.10 No.2: Presto
- Sonata No.7 In D Major, Op.10 No.3: Presto
- Sonata No.7 In D Major, Op.10 No.3: Largo e mesto
- Sonata No.7 In D Major, Op.10 No.3: Menuetto: Allegro
- Sonata No.7 In D Major, Op.10 No.3: Rondo: Allegro
- Sonata No.22 In F Major, Op.54: In tempo di Menuetto
- Sonata No.22 In F Major, Op.54: Allegretto - Piu allegro
Tracks:
- Sonata No.4 In E Flat Major, Op7: Allegro molto e con brio
- Sonata No.4 In E Flat Major, Op7: Largo con gran espressione
- Sonata No.4 In E Flat Major, Op7: Allegro
- Sonata No.4 In E Flat Major, Op7: Rondo: Poco allegretto e grazioso
- Sonata No.9 In E Major, Op.14 No.1: Allegro
- Sonata No.9 In E Major, Op.14 No.1: Allegretto
- Sonata No.9 In E Major, Op.14 No.1: Rondo: Allegro comodo
- Sonata No.10 In G Major, Op.14 No.2: Allegro
- Sonata No.10 In G Major, Op.14 No.2: Andante
- Sonata No.10 In G Major, Op.14 No.2: Scherzo: Allegro assai
Tracks:
- Sonata No.11 In B Flat Major, Op.22: Allegro con brio
- Sonata No.11 In B Flat Major, Op.22: Adagio con molta espressione
- Sonata No.11 In B Flat Major, Op.22: Menuetto
- Sonata No.11 In B Flat Major, Op.22: Rondo: Allegretto
- Sonata No.12 In A Flat Major, Op.26: Andante von variazioni
- Sonata No.12 In A Flat Major, Op.26: Scherzo: Allegro molto
- Sonata No.12 In A Flat Major, Op.26: Marcia funebre sulla morte d'un Eroe: Maestoso andante
- Sonata No.12 In A Flat Major, Op.26: Allegro
- Sonata No.13 In E Flat Major, Op.27 No.1: Andante - Allegro
- Sonata No.13 In E Flat Major, Op.27 No.1: Allegro molto e vivace
- Sonata No.13 In E Flat Major, Op.27 No.1: Adagio con espressione - Allegro vivace
Tracks:
- SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Grave - Allegro molto e con brio
- SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Adagio cantabile
- SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Rondo: Allegro
- Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Adagio sostenuto
- Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Allegretto
- Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Presto agitato - Adagio - Presto agitato
- SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro assai - Piu allegro
- SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Andante con moto
- SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro ma non troppo - Presto
Tracks:
- Sonata No.15 In D Major, Op.28 'Pastoral': Allegro
- Sonata No.15 In D Major, Op.28 'Pastoral': Andante
- Sonata No.15 In D Major, Op.28 'Pastoral': Scherzo: Allegro vivace
- Sonata No.15 In D Major, Op.28 'Pastoral': Rondo: Allegro ma non troppo
- Sonata No.21 In C Major, Op.53 'Waldstein': Allegro con brio
- Sonata No.21 In C Major, Op.53 'Waldstein': Introduzione (Adagio molto) - Rondo (Allegretto moderato - Prestissimo)
- Sonata No.19 In G Minor, Op.49 No.1: Andante
- Sonata No.19 In G Minor, Op.49 No.1: Rondo: Allegro
- Sonata No.20 In G Major, Op.49 No.2: Allegro ma non troppo
- Sonata No.20 In G Major, Op.49 No.2: Tempo di menuetto
Tracks:
- Sonata No. 16 In G Major, Op. 31 No. 1: Allegro vivace
- Sonata No. 16 In G Major, Op. 31 No. 1: Adagio grazioso
- Sonata No. 16 In G Major, Op. 31 No. 1: Rondo: Allegretto - Adagio - Presto
- Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Largo - Allegro
- Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Adagio
- Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Allegretto
- Sonata No.18 In E Flat Major, Op.31 No.3: Allegro
- Sonata No.18 In E Flat Major, Op.31 No.3: Scherzo: Allegretto vivace
- Sonata No.18 In E Flat Major, Op.31 No.3: Menuetto: Moderato grazioso
- Sonata No.18 In E Flat Major, Op.31 No.3: Presto con fuoco
Tracks:
- Sonata No.24 In F Sharp Major, Op.78: Adagio cantabile - Allegro ma non troppo
- Sonata No.24 In F Sharp Major, Op.78: Allegro vivace
- Sonata No.25 in G major, Op.79: Presto alla tedesca
- Sonata No.25 in G major, Op.79: Andante
- Sonata No.25 in G major, Op.79: Vivace
- Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Das Lebewohl (Les Adieux): Adagio - Allegro
- Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Abwesenheit (L'Absence): Andante espressivo
- Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Wiedersehn (Le Retour): Vivacissimamente - Poco andante - Tempo 1
- Sonata No.27 In E Minor, Op.90: Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
- Sonata No.27 In E Minor, Op.90: Nicht zu geschwind und sehr singbar vorzutragen
Tracks:
- Sonata No.28 In A Major, Op.101: Allegretto ma non troppo
- Sonata No.28 In A Major, Op.101: Vivace alla Marcia
- Sonata No.28 In A Major, Op.101: Adagio, ma non troppo, con affetto - Tempo del primo pezzo - Allegro
- Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Allegro
- Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Scherzo: Assai vivace - Presto - Tempo 1
- Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Adagio sostenuto
- Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Largo - Allegro - Prestissimo - Allegro risoluto (Fuga a tre voci, con alcune licenze)
Tracks:
- Sonata No.30 In E Major, Op.109: Vivace, ma non troppo - Adagio espressivo - Tempo 1
- Sonata No.30 In E Major, Op.109: Prestissimo
- Sonata No.30 In E Major, Op.109: Tema: Andante molto cantabile e espressivo - Variazioni 1-6
- Sonata No.31 In A Flat Major, Op.110: Moderato cantabile, molto espressivo
- Sonata No.31 In A Flat Major, Op.110: Allegro molto
- Sonata No.31 In A Flat Major, Op.110: Adagio ma non troppo
- Sonata No.31 In A Flat Major, Op.110: Fuga: Allegro ma non troppo - L'istesso tempo di arioso - L'istesso tempo della Fuga - Meno allegro
- Sonata No.32 in C minor, op.111: Maestoso - Allegro con brio ed appassionato
- Sonata No.32 in C minor, op.111: Arietta: Adagio molto semplice e cantabile - Variazioni
Customer Reviews:
Barenboim's Beethvoen.......2007-06-27
One of the very best ever.......2007-02-15
dead in the water.......2007-01-12
Better off finding a better performance of these if you really want to be "blown away". My favorite "Beethoven" conductor would have to be Herbert von Karajan; and as for individual pianists my all time favorite is Maurizio Pollini, whose performances are exquisite, in both technique and expression! If you are a music lover you should really check his work out if you haven't already. My favorite Beethoven CD by him is "Die Spaten Klaviersonaten" (Beethoven) by Deutsche Grammophon in their "legendary recordings" series. It is a real gem! (the sound quality is excellent also)
Sublime expression nourished by a colossal vision!.......2006-03-23
And that is a very remarkable good point in this musical moment where the pianist technique is eclipsing and even annulling the personal approach in the most of pianists all over the world. Honesty, conviction, vision and commitment dress those interpretations loaded of expression and personality.
In the great tradition of the great Beethovenian keyboard giants of the past, Daniel explores and plays every little bar with that well felt intensity of someone who in Beethoven `s there is much more than simple music. In Beethoven the music is not a goal by itself; but a revelation superior to any philosophy; all his musical legacy possess values that are placed of the standards. There is not art without second intention and that is precisely what Barenboim has made with this fabulous cycle of Beethoven Sonatas.
If you really want to listen remarkable performances far beyond of the trivial conventionalisms, go for this record.
Performed with great enthusiasm.......2004-05-16
Personally, I think his style is just right for Beethoven (but perhaps just a bit much when he plays Mozart). I'm very glad that I bought this set, but some might prefer Brendell's (Phillips) or Kempff's (DG) more sedate versions.
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J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006
Manufacturer: Pentatone ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B00097HE8U Release Date: 2005-06-14 |
Customer Reviews:
Julia Fischer performs J.S.Bach's Sonatas and Partitas for Solo Violin.......2007-05-07
Thoughtful Readings.......2007-01-09
Listeners contemplating the purchase of yet another Bach Unaccompanied set will also have to look to their own tastes in deciding whether Fischer fits the bill. Have you long since acquired, and exhausted, the classic Milstein performances? Did you find Perlman nicely polished, or just a bit too slick? Did you respond well to Kremer's impetuosity and drama, or consider his approach overly rough and improvisatory?
In the liner notes, Ms. Fischer tells us that for years she has warmed up every day with these pieces. It shows. She is obviously familiar with them, and her technical security and sense of "what comes next" have benefited. But with familiarity comes a certain complacency, and warmups can encourage a performer to emphasize sheer mechanics: pitch accuracy, evenly smooth bowing, perfect finger coordination, etc. That is what I personally hear as a guiding principle in most of these interpretations. They are soft-edged, maintaining steady tempi, using the middle third of the bow, employing subtle and consistent accents, phrasing, and dynamic emphases.
Nothing wrong with those choices. In many aspects, they may lie closer than some others to what Bach had in mind. But I found myself respecting Fischer's efforts rather than becoming involved in the music itself. In the end I went back to Hilary Hahn's debut disc (which includes some but not all of these works) in order to hear controlled and thoughtful Bach performances with more passion, more bite (bowing at the frog when needed), and more overall humanity.
The SACD recording is quite good, but if anything it emphasizes the mellow, moderated quality of these performances with a violin timbre that is never unpleasant but seldom provides the range of colors that one might hope to hear, even in Bach. Especially in Bach?
I think Ms. Fischer is heard to better advantage in her Pentatone recording of the Russian concertos -- maybe she didn't feel a "Romantic" approach was as appropriate for Baroque music. The result sounds curiously old-fashioned, however, especially given the recent tendency in historically informed Baroque performance to emphasize drama and individualistic expression (e.g., Rachel Podger, Andrew Manze). By comparison, Julia Fischer's Bach comes off as a careful effort by a recent conservatory graduate. Still worth hearing, but perhaps more as an emblem of her undeniable promise.
Bach by Julia Fischer.......2006-08-04
She is one of the best performers of Bach solo pieces if not the best. Milstein, Kagan, Grumiaux, Perlman are good. But she is something else. Timing, fluidity, expression I can go on and on. This is the most "musical" interpretation of these pieces I have heard so far.
very good........2006-06-11
What a Surprise!.......2006-03-09
I was surprised. It doesn't sound like she is young at all. According to Fisher, she played Bach every day. And she has been studying Bach since she was a little girl. No wonder she has attended to the details of it. The speed she took was relatively slow, especially for the Preludes and Sarabande. Her technique was impeccable, but it all sounded so natural. I once listened to Heifitz and I didn't quite like it. It sounded not like Bach. Fisher surely captured the elegance and warmth of one of Bach's most intelligent and intellectual works.
If you like Bach's Unaccompanied Sonata and Partita for Solo Violin, buy this. You won't regret. The recording quality was superb, too!
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György Ligeti Edition 3: Works for Piano (Etudes, Musica Ricercata) - Pierre-Laurent Aimard
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ASIN: B0000029P0 Release Date: 1997-01-21 |
Tracks:
- Piano Etudes (Book One): I. De'sordre - Molto vivace, vigoroso, molto ritmico
- Piano Etudes (Book One): II. Cordes a' vide - Andantino con moto, molto tenero
- Piano Etudes (Book One): II. Touches bloque'es - Presto possibile, sempre molto ritmico
- Piano Etudes (Book One): IV. Fanfares - Vivacissimo molto ritmico, con allegria e slancio
- Piano Etudes (Book One): V. Arc-en-ciel - Andante molto rubato, con eleganza, with swing
- Piano Etudes (Book One): VI. Automne a' Varsovie - Presto cantabile, molto ritmico e flessibile
- Piano Etudes (Book Two): VII. Galamb borong - Vivacissimo luminoso, legato possibile
- Piano Etudes (Book Two): VIII. Fe'm - Vivace risoluto, con vigore
- Piano Etudes (Book Two): IX. Vertige - Prestissimo sempre molto legato, sehr gleichmassig
- Piano Etudes (Book Two): X. Der Zauberlehrling - Prestissimo, staccatissimo, leggierissimo
- Piano Etudes (Book Two): XI. En suspens - Andante con moto, (avec l`e'le'gance du swing)
- Piano Etudes (Book Two): XII. Entrelacs - Vivacissimo molto ritmico, sempre legato, con delicatezza
- Piano Etudes (Book Two): XIII. L'escalier du diable - Presto legato ma leggiero
- Piano Etudes (Book Two): XIV. Coloana infinita' - Presto possibile, tempestoso con fuoco
- Musica ricercata: I. Sosenuto - Misurato - Prestissimo
- Musica ricercata: II. Mesto, rigido e cerimoniale
- Musica ricercata: III. Allegro con spirito
- Musica ricercata: IV. Tempo de Valse (poco vivace - a' l'orgue de Barbarie)
- Musica ricercata: V. Rubato. Lamentoso
- Musica ricercata: VI. Allegro molto capriccioso
- Musica ricercata: VII. Cantabile, molto legato
- Musica ricercata: VIII. Vivace. Energico
- Musica ricercata: IX. Adagio. Mesto - Allegro maestoso
- Musica ricercata: X. Vivace. Capriccioso
- Musica ricercata: XI. Andante misurato e tranquillo
- Piano Etudes (From Book Three): XV. White on White
Customer Reviews:
A nice mico-view of Ligeti's work.......2007-03-11
The most obvious technical requirement of this music is touch. In some of the etudes, complex voicings are required at very low dynamic levels. In others, the ability to bring out multiple voices is paramount. Aimard is perfect. His technique is so assured that we can easily get to the music and not be sidetracked by prowess.
Those who know Ligeti's music know how protean he could be. Like a good athlete, he was willing to take on enormous risks. Sometimes the result felt intellectualized and tiresome. But more often than not, the music soared. This is certainly true of the Etudes on this disk. They are studies in the truest sense of the word--one may focus on a particular set of intervals, another on a texture, yet another on a rhythm. Each one is fascinating and the collection holds together nicely. There are even hints of Nancarrow!
Ligeti himself felt ambiguously about the "Musica Ricercata", and it isn't hard to see why. The first piece is based on only two pitches (with octaves); the second on three and so on. It sort of proves a point, but what point? By the time you get to the fourth piece, it starts to get good, but the listener has to regain some flagging energy. The third piece is actually the basis of the opening of "6 Bagatelles for Wind Quintet".
So while I have little quibbles, I still recommend this disk strongly. It's great music, beautifully played.
Very Nice Piano Studies. Not the best Ligeti.......2006-09-02
Don't get me wrong. I think almost all of the studies on these tracks are good, maybe even almost as good as Chopin and Liszt, but I don't think so. We don't hum Ligeti etudes the way some people hum Chopin etudes or dances for piano. And, a few of the passages sound like the scene from 'Ghostbusters' where Bill Murray tickles the very high keys on Sigourny Weaver's piano as they enter her apartment to track down some particularly awesome apparitions of Zuel (sic) and Gozer (sic sic).
If you are looking to touch only the high points of Ligeti's music and don't have the compulsioin to own everything, you can pass on these and not be missing too much of the good stuff. Check out his choral and a capella works for the really hot stuff.
Perfect Ligeti........2005-10-19
What we find in this CD, 3rd of an outstanding series, is the technical perfection made piano playing, in the hands of Aimard, who plays absolutely all the notes full of perfection, sense and correction, from the dynamic to the tempo, from the correct attack to the prodigious use of the pedal. If you are used to a romantic piano you can feel this versions a little cold or dry, but this is because Aimard goes directly to the heart of the XXth Century style of piano playing, in the line that comes from Schönberg-Berg-Webern and that goes in a different way of playing than the century before, so you can be lost in some sense about the way he understand the use of the piano, the playing, the technique, the echoes, the silences...
You'll find in this CD the Musica Ricercata, a work from Ligeti's first period, very easy to understand for those who are not used to listen this kind of "modern" music. It has many folk motives, used in a way very close to Bartók's style. One of this pieces (Musica ricercata: II. Mesto, rigido e cerimoniale) was taken by Stanley Kubrick for his last film Eyes Wide Shut, with an outstanding presence in the film associated to the worries and pressure over the main character; Ligeti says about this piece that it was a knife against the stalinist regime because of this style of music, sinister, innovative and forgiven in the communist Europe. The film's version is slower than this by Aimard, more "cinematographic" but slower than the score asks. Aimard's version in this piece and in the full pieces are outstanding.
The rest of the CD it's based on the Etudes, books I & II, both of them complete. Those are pieces much more modern than the Musica Ricercata, some of them, in the words of Ligeti with some links and inspiration on Nancarrow's works. We are listening in this case some of the most complex works for piano written in the XXth Century, and many of them authentic jewels of the genre. The Aimard versions for Sony are the better I know from the French pianist, who have recorded some of them in other CDs, like his great recording from de Carnagie Hall (Warner), but not so good like this outstanding CD.
So, if you are looking for perfection in Ligeti's piano music performances don't doubt about this CD; if you want to discover the piano of the XXth Century this could be a great door to go into, because of the music, because of the performing and because of a perfect recording and booklet.
good cd.......2005-08-23
Ligeti on cd, hooray.......2005-08-01
The recording quality in this series is outstanding, and it is a delight to see the breadth of this series. Having many works of Ligeti from the Wergo vinyl catalog of the 70's, I selected the piano works for the fun of discovery.
Those of you who enjoy this piano stuff should try to find Nina Deutsch's recording of Charles Ives: Solo Piano Music.
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Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Cecilia Bartoli , George Frideric Handel , Alessandro Scarlatti , Antonio Caldara , Marc Minkowski , and Les Musiciens du Louvre Manufacturer: Decca ProductGroup: Music Binding: Audio CD Caldara, Antonio
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ASIN: B000A6T1HC Release Date: 2005-09-13 |
Tracks:
- All'arme si accesi guerrieri (Aria dell Pace)
- Mentre io godo (Aria della Speranza)
- Un pensiero nemico di pace
- Vanne pentita a piangere
- Sparga il senso lascivo veleno
- Caldo Sangue
- Come nembo che fugge col vento
- Ecco negl'orti tuoi...Che dolce simpatica
- Qui resta...L'alta Roma
- Lascia la spina cogli la rosa
- Ahi qual cordoglio...Doppio affetto
- Si piangete pupille dolente
- Ahi quanto cieca...Come foco allo splendore
- Disserratevi oh porte d'Averno
- Notte funesta...Ferma l'ali
Amazon.com
Cecilia Bartoli's new CD features a collection of music that could not be heard in her native Rome at the start of the 18th century due to Papal censorship. Theaters, the Church felt, were places of evil and corruption and operas led people to immorality. But some music-loving senior members of the priesthood asked composers to write oratorios and cantatas--indeed, operas without staging, essentially--for their own private entertainment. Call it what you will, the music is sensational--by turns virtuosic, gentle, and playful--and always expressive: just right, it seems, for Cecilia Bartoli's temperament. The opening aria on the CD, a call for peace in the name of Jesus, is, in fact, a dazzling martial air with trumpets blaring and the voice going through an amazing array of coloratura fireworks. It shows Bartoli at her most aggressive. The listener is practically hurled back from the speakers when she begins, with rapid-fire runs and trills and cascades of notes, all perfectly in place. Showy arias are offset by several tender ones ("Lascia la spina" from Handel's Il trionfo del Tempo e del Disinganno returns in the composer's Rinaldo, four years later, as the now-famous "Lascia ch'io pianga"), and Bartoli exhibits again, her many, many levels of pianissimo and sensitive phrasing. Marc Minkowski and his Musiciens are just right for this repertoire and back Bartoli up superbly. This is a fascinating project, rivetingly performed and presented. --Robert LevineAlbum Description
Limited Australian pressing. An extraordinary album of dramatic arias written in Rome at a time when opera performance was forbidden by the Church, and female singers were forbidden from singing in public. Decca. 2005.Customer Reviews:
Only one diva, only Bartoli........2007-06-19
In Opera Proibita, Bartoli's repertoire not only reflects on her as a consummate vocal artist but also as the ultimate scholar. Rarely an opera singer would dig this dip and go that far to unearth great scores from total obscurity. Even more uncommonly a singer would take the challenge of singing these arias without the risk of ridiculing herself, but to the contrary establishing a new record and precedent.
Her execution of the Handel arias is truly astonishing in coloratura and melismas probably not heard for three hundred years when only the best castrati commanded the virtuosity to tackle these arias. Also surprising and refreshing was to hear works by Handel that show his wild side.
Bartoli brings this album to a high climax with the arias from Il Trionfo del Tempo e del Disinganno. This is really her realm and true medium. Her vocal runs in "Un pensiero nemico di face" sound like a first violin, and as if this was not difficult enough she ornaments the da capo melismas in tempo from allegro to presto molto vivace, and transitions into a note crescendo with great ease and certainty. Wonderful!
Amazing disc.......2007-03-03
Beautiful Music, but vocally unmusical........2007-02-09
Alas, starting from her Vivaldi Album, I do not find her singing that beautiful any more. True, the songs picked there are technically very challenging, used to be sung by male castrato singers. The songs picked here are even more difficult.
BUT - is singing just about technique?
There are some songs in the Vivaldi Album that have the vocal musical lines broken in places. Here in Opera Proibita, almost every song has this problem, even the slow ones of Caldara. Compare her singing in the earlier part of her career, her early Mozart operas, I could not help but wonder if Ms. Bartoli has taken the correct turn in her career: her forced high notes, though squarely hit, do not sound at all pleasing; her runs and trills, though taken accurately at great tempi, is no longer truly musical. Compare her singing with the other two great baroque mezzo-sopranos Bernarda Fink and the tragically short-lived late Lorraine Hunt Lieberson, you would understand what I mean.
With the latest turn in Ms. Bartoli's singing, I am being forced to admit that this is a singer of great technical brilliance and enormous fame, but not at all pleasing to the ear.
Not to my taste.......2006-11-05
Exciting, moving, beautiful, energetic, heart-felt, fantastic..........2006-09-02
Cecilia Bartoli just "does it" for me almost every time. She is just fantastic in my books. I love her dearly. She can give one an adrenalin rush with her bravura singing and then break one's heart with her pathos.
This is a superb collection of Baroque arias from "almost" operas! ;-))
I also liked the cheeky and none-too-subtle references to La Dolce Vita on
cover and the images inside the disc. Nice to see an opera singer with a playful sense of humour!
I am listening to this disc as I write this review and all I can say is that I love this disc and it is clearly one of the best Signorina Bartoli has released, although I like all of her recordings. Listen to track 12 and you will buy this disc.
More, please!
PS: How about DECCA getting Cecilia Bartoli and Andreas Scholl together for a musical project? I'd love to see two of my favourite singers together on the one disc.
PSPS: If you like Opera Proibita, buy Andreas Scholl's Arcadia and Arias for Senesino, too!
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