Que Sera, Sera [Box set]

Editorial Reviews
Album Description
20-track collection. Pegasus. 2004. --This text refers to an out of print or unavailable edition of this title.

Customer Reviews:

The mastery of Machaut.......2006-08-28

Guillaume de Machaut (c.1300-1377) was the greatest composer of the 14th century, and was notable for composing "La Messe de Notre Dame" - the first mass that was entirely attributed to one composer.

Here we have the 23 motets of Machaut. Machaut's motets, like those from others in the medieval period, are usually written in three parts:

1). The tenor: the lowest voice, which usually sings a simple, short text, with very long duration given to each syllable, similar to that of plainchant, sung slowly
2). The duplum or motetus: the middle voice, which sings a separate text. This text usually takes the form of a poem, and is more ornamented than the tenor
3). The triplum: the highest voice, which sings its own text in a highly ornamented style

Machaut's motets follow the principle of isorhythm. In essence, this means that the tenor part is repeated multiple times using the same rhythm, but the proportion of the rhythm can be altered in each repetition.

Sounds pretty complicated, doesn't it? Well, it is, and it isn't. It is complicated in the sense that three separate texts, written in old French or Latin, are sung simultaneously. Some of the motets even combine the two languages together! But the underlying beauty of Machaut melodies often beguiles the ear, making you forget all of that is taking place. However, as I have listened to the motets repeatedly, I have come to appreciate how the intricate duplum and triplum voices play off one another and contrast against the unornamented tenor line. This music really is amazing and Machaut clearly was a master. I think certain of the motets are immediately appealing for their melancholy beauty (tracks 4, 5, 6, 7 and 8 on disc one, and tracks 4, 5, 11, 12 and 15 on disc two). Other tracks require more attention. Accordingly, this is a release to listen to multiple times, and in chunks. It's a bit much to fully process this music in one sitting!

The performance by Ensemble Musica Nova is outstanding, and the sound is very clear. It is evident that a lot of research went into this recording, and that great care was taken to provide the listener with an authentic experience. It should be noted that in contrast to the choral music of the Renaissance, the different voices of the ensemble do not combine to create a unified sound. Each voice is distinct, and is readily identifiable. In this performance, several of the motets are accompanied by Medieval instruments (viele, flute a bec, harp and drum), while others are purely choral. Multiple versions of certain of the motets are included. For instance, Motet 17 is presented in both an instrumental and choral version. The program notes are extremely detailed, with the original texts and English translations of the motets included.

I suspect this package will prove irrestiable to fans of medieval music, and this set can be enthusiastically recommended to that crowd. For those new to medieval music, I would recommend starting with a recording of "La Messe de Notre Dame" to get warmed up to the style. But if you are looking for a copy of Machaut's motets - this outstanding version is the one to get!

CD1: 46:53
CD2: 44:37

A landmark recording of Machaut's music.......2005-07-20

Machaut was born around 1300, presumably in Machaut, a village northwest of Reims. At the end of his life, poet and composer Guillaume de Machaut closely supervised the illumination of the manuscripts with his compositions. Most of these books containing an extraordinary variety of lavish miniatures can be found in the National Library of Paris. It appears that Machaut had his eye on prosterity in zealously collecting together his complete works in a manner unheard of amongst Medieval composers. The earliest of his motets can be dated to 1324. Many of them mix Latin and French texts in different voices though some are entirely in either French or Latin. In total 23 motets have been handed down to prosterity, nearly all of them are isorhythmic and they are all recorded here complete for the first time.

The Ensemble Musica Nova are part of the lively French early music scene with all of its greater expressive vibrancy and passion, that constrast markedly to the often chilly and reserved English performances. To add to the variety even more, the motets are played interspersed with alternative surviving instrumental dimunitions of the same motets that enrichen the musical experience greatly. Those accumstomed to the puritanically bland early music performances by English groups will find the results from this French group revelatory, with their exhibition of a far fuller palette of colour that recalls those rich illuminations that decorate his manuscripts. All of this helps to present a far more vigorous case for Machaut as one of the turly great composers of Western music.

The completeness and authoritativeness of the performances further extends to the use of period French pronounciation in the performances. All in all this has to be regarded as a benchmark recording for these works by a group who demonstrate deep dedication to this great composer.

Another strong added attraction of the CD is the audiophile grade quality of the recorded sound. There is good air around voices and instruments with nice spacial resolution/sound staging with voice/instrumental timbre being captured vividly. Furthermore the documentation in the cover booklet is exceptionally thorough in its discussion and documentation of textual sources, performance practice and musicological background. An additional booklet in the box provides full texts. This is another case of a lovely boutique independent recording company successfully producing a CD whose artistic and technical standards runs rings around the majors. It certainly raises great interest in the other releases by Zig Zig Territoires. Even the cover art epitomises French chic at its best.

Quite deservedly, this CD was decorated with the Diapason d'Or and the Choc de l'année 2003 - in this repetoire awards I take immeasurably more notice of than Gramophone which would have awarded it a Recording of the Year if the composer and performers were English! David Vernier for Classicstoday gave it a 10/10 review and for once I pretty much agree.

An essential CD set of music of the Ars Nova. Definitely one to grab while you can - you will be kicking yourself if you miss this one.

Average customer rating:

Very pretty, but is it Machaut?
Deserved a Grammy
Buy Dreams in the Pleasure Garden
Too beautiful?
Lovely, but ...

Guillaume de Machaut: Motets

Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Perotin / The Hilliard Ensemble
Machaut: Messe de Notre Dame / The Hilliard Ensemble
Josquin Desprez: Motets & Chansons
Machaut: La Messe de Nostre Dame; Songs from Le Voir Dit
Dufay: Missa L'homme armé; Supremum est mortalibus bonum

ASIN: B0001A7D3G
Release Date: 2004-03-30

Tracks:

De Soupirant Cuer, M2
Fine Amour, Qui Me Vint Navrer, M3
Puis Que La Douce Rousee, M4
Qui Plus Aimme, M5
Lasse! Je Sui En Aventure, M7
Ha! Fortune, M8
O Livoris Feritas, M9
Helas! Ou Sera Pris Confors, M10
Fins Cuers Dous, M11
Eins Que Ma Dame D'Onnour, M13
Faus Samblant M'A Deceu, M15
Se J'Aim Mon Loyal Ami, M16
Bone Pastor, M18
Diligenter Inquiramus, M19
Biaute Paree De Valour, M20
Veni Creator Spiritus, M21
Plange, Regni Respublica, M22
Inviolata Genitrix, M23

Amazon.com

Celebrating their 30th anniversary, the Hilliard Ensemble turns to the Motets of Machaut, 18 exquisitely wrought works that explore a wide range of human emotions within the context of a timeless style, as piercing today as it must have been to 14th Century Parisians. The texts range from darker variations of courtly romances to the vagaries of love and fortune, reflections on envy, deceit, morality, death, and salvation. Machaut clothes these in long, flowing musical lines, often florid ones whose complex patterns reveal bold harmonic twists and turns, an exhilarating combination of austerity and rich complexity. The Hilliard Ensemble--here five well-tuned voices, two countertenors, two tenors, and baritone--sing with an intensity often missing from more formalistic performances of medieval music, though never violating stylistic strictures. Perhaps these short masterpieces best retain their freshness when heard in chunks of three or four, but there's no question this is an essential acquisition for lovers of early music. Completing the recommendation, the engineers beautifully capture the glow of the church acoustic. --Dan Davis

Customer Reviews:

Very pretty, but is it Machaut?.......2006-05-21

The Hilliard Ensemble seems to want to treat these secular Machaut motets, whose lyrics all involve courtly love themes, as sacred music.

A purely vocal performance of this material is, of course, as justifiable as any other performance practice we can surmise for this fourteenth century music. The Hilliards appear to treat some of the lines as vocal drones, and emphasize a single line above it, treating Machaut much as you would expect to treat a discant over a piece of chant in the Notre-Dame school organum. This tends to obscure what made Machaut an innovative and original composer. Machaut was one of the first composers to write -complex- polyphony, and this practice seems to treat some of Machaut's lines as being of secondary interest.

The heavy reverb in the recording, which has been noted below, adds a reverent tone. This, too, seems a bit off: it makes the music sound remote and unearthly, as if sung in the crypt of a stone church. Even given that Machaut was a churchman attached to the cathedral at Rheims, an ecclesiastical performance of this courtly love material seems somewhat unlikely.

That said, it is very pleasant to listen to. But for those who want a purely vocal performance of Machaut's secular motets, recordings such as that by Summerly's Oxford Camerata of -Le Voir Dit- make it somewhat clearer what is going on in Machaut's music.

Deserved a Grammy.......2005-12-16

I understand the complaints lodged against this recording, as I similarly declared that Anonymous 4 sanitized Landini. However, I cannot say the same thing here. There have already been plenty recordings of the more raw and jaunty side of Machaut. This recording really shows how exquisite Machaut can be.

I was thrilled when Hilliard Ensemble was nominated for a grammy for this and I can't even count how many copies of this that I have given as gifts. Everyone has been thrilled, and for many, this was their first exposure to medieval music.

I also recommend the Machaut recordings by Ensemble Project Ars Nova and Fortune's Wheel.

Buy Dreams in the Pleasure Garden.......2005-12-01

This is nice but I think Dreams in the Pleasure Garden(a compilation of secular works by Machaut) and Messe de Nostre Dame (his famous mass) are a bit more interesting musically.

Too beautiful?.......2005-01-20

Can something be too beautiful? The Hilliard Ensemble's creamy vocal tone and beautiful intonation make all of their recordings a sensual and delicious experience. But is that really the best approach to Machaut's motets? 14th-century French music has lots of rhythmic angularities, and surprisingly harsh sonorities (involving parallel fourths). These sharp edges seem to have been sanded off in the Hilliard's version, as if they couldn't bear to sacrifice their luscious vocal sound for the sake of the composer's slightly knotty style. As much as I admire these singers (it all sounds incredibly lovely), I prefer my Machaut from groups like Ensemble Organum, who sound more like folk-singers, in their raw, vibrato-free style. People who like beautiful singing will probably love this recording, but I think this music is better represented by a little rough treatment.

Lovely, but ..........2004-12-15

Frankly, this disc sounds very little like Machaut and very much like the Hilliard Ensemble (and even more like ECM). To be sure, it's lovely singing, and it is certainly well recorded (though ECM's penchant for 9" reverb does seem quite silly), but the wash of sound favored by the Hilliard Ensemble is very much out of place here, I think (much better in the legitimately choral works of the late Renaissance). The tempi are too slow, the articulation is too smooth, and performance practice too Anglicized. For a better, more appropriately performed Machaut, look to the fantastic Project Ars Nova disc on new albion.

Average customer rating:

Que Sera Sera

ProductGroup: Music
Binding: Audio CD

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ASIN: B000086EL4
Release Date: 2006-12-19

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

Average customer rating:

Beyond all description...
An Absolute Must-Have for Any Pavarotti Fan
Wonderful!!!!

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005O841
Release Date: 2001-11-13

Album Description

Disc 1: Donizetti Arias from L'elisir d'amore, Maria Stuarda, Lucia di Lammermoor, La Fille du Regiment, Linda di Chamounix, La Favorita, and Don Paquale

Disc 2: Bellini/Donizetti/Verdi Includes arias from I Capuleti e i Montecchi, Norma, La Sonnambula (1976 Duet Recording), I Beatrice di Tenda, I Puritani, Don Sebastien, Il Duca d'Alba, I Lombardi, I due Foscari, Ernani, and Attila

Disc 3: Verdi 1 Includes arias from Macbeth, Luisa Miller, Rigoletto, Il Trovatore, La Traviata, and Les Vepres Siciliennes

Disc 4: Verdi 2 Includes arias from Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello, and Requiem

Disc 5: Puccini Includes arias from La Boheme, Madama Butterfly, and Turandot

Disc 6: Puccini and Verismo Includes arias from Cavalleria Rusticana, Manon Lescaut, Pagliacci, Andrea Chenier, and Tosca

Disc 7: Arias 1 Includes arias from La Griselda, Atalanta, Orfeo ed Euridice, Don Giovanni, Cosi fan Tutte, Guillaume Tell, and more. Includes Unreleased Material.

Disc 8: Arias 2 Includes arias from Martha, Mefistofele, La Giocanda, Adriana Lecouvreur, Rosenkavalier, Fedora, Werther, Faust, Carmen, and more

Disc 9: Italian Songs Includes: In questa tomba oscura, Me voglio fa'na casa, Non t'amo piu, Pace non trovo, and more

Disc 10: Neapolitan and Italian Popular Songs Includes: O sloe mio, Torna a Surriento, Core 'ngrato, Funiculi Funicula, Non ti scordar di me, Mamma and more

Bonus CD: The 1964 EP (previously unreleased) "Che Gelida Manina," "E lucevan le stelle," "Questo o quella," "La Donna e mobile," and "Parmi veder" with Orchestra of the Royal Opera House, Covent Garden, Edward Downes conducting

Customer Reviews:

Beyond all description..........2006-09-19

As a boy, I heard so many hyperbolic references to the legendary Enrico Caruso that I chose to purchase a remastered copy of his "Greatest Hits" when I first began to acquire recordings as a young man. Soon after, I discovered Pavarotti and my life was changed by his music. Caruso ended up in the Goodwill Store. I am convinced that in 500 years, should the earth cool again and the Muslim hoards abate, the civilized world will still tell tales of the greatest tenor. I have often found myself grumpy when searching for recordings of Pavarotti because of the inconsistent fidelity of the recordings. That search for the definitive Pavarotti recordings, regarding both content and fidelity, has ended with the release of this extraordinary collection. Worth it's weight in gold, the Puccinni Volume (#5) alone is enough to send someone like me into hyperspace. I am astounded by the beauty and power of these performances. I will always remember the day, not long ago, when a NPR commentator glibly mentioned between the weather and the night's playlist the terrible words, "Luciano Pavarotti has announced that he is retiring from Opera." I felt as if something indescribably beautiful was fading from the world. Of course, beauty in all of its earthly forms is fleeting at best, but these discs contain a reflection of it that will surely bolster any soul.

An Absolute Must-Have for Any Pavarotti Fan.......2004-01-09

...and that certainly goes without saying. My one tiny little problem with it is that his recordings of "Santa Lucia" and "Caruso" are not on this incredible box-set. Even though I have those recordings on other CDs, I still think those are very important pieces to include on this set (assuming that this set of Pavi hits would be the only compilation that that any fan of this phenomenal tenor would have). He is probably my biggest idol, and he deserves to have been one of the biggest opera stars in history.

Wonderful!!!!.......2002-11-07

This Pavarotti set; The Pavarotti Edition; is a wonderful collection of Arias and songs that cover Luciano's great career. Pavarotti is THE Voice of the 20th Century and this set does him justice. It includes 10 CDs with over 750 minutes of music; Includes Music from All of His roles; has a beautiful 76 page full color booklet; Has a wonderful write up; and includes a bonus CD of Pavarotti's fist album, a 45, from 1964, which has never been released on CD before this set. Every Song is hear, This SET is a must have for every Pavarotti Fan.

The Complete Recordings, 1902-1920 (Box Set)

Average customer rating:

Get It While You Can
Essential edition for opera lovers

The Complete Recordings, 1902-1920 (Box Set)

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00030B92K
Release Date: 2004-11-23

Album Description

The Complete Caruso: Volumes 1 - 12

The Italian tenor Enrico Caruso holds a unique place in musical history, as the first operatic singer whose recordings sold in millions, and who created an international reputation on the strength of these. Caruso's robust tone and musical sincerity made him both an ideal stage and recording artist, whose voice the primitive acoustic recording technology of the early twentieth century was able to reproduce with startling fidelity. The Naxos Historical Caruso edition constitutes the complete cycle of all Caruso's recordings issued in chronological order. In addition, the transfers have been immaculately undertaken by top sound engineer Ward Marston, unrivalled for his knowledge of the specialized world of acoustic opera recordings, and his rare ability to retrieve all of the music lying in the grooves of the original recordings. Naxos Historical's incredible price (12 CD'S FOR THE PRICE OF 10) puts this unique legacy of great singing within the reach of all music-lovers. This! complete cycle of recordings represents a major document in the history of sound recording, and one which no collector and enthusiast of great singing will wish to be without. "There is no series of vocal records that have a greater documentary value, that meant more to the development of the phonograph record, or that are as consistently capable of providing pleasure to lovers of great singing. ...One of the most significant recording industry events of the decade." Fanfare

Customer Reviews:

Get It While You Can.......2006-10-13

This may not be easy to get in the USA for very long.....don't miss it.

Essential edition for opera lovers.......2005-02-01

This set gives you the opportunity to follow the entire recording career of one of the greatest singers in Operatic History. Enrico Caruso was the first superstar of the 20th century -- and this without the benefit of mass media. His person and his records were his greatest publicity.

The set begins with Caruso's Italian made recordings. They show a great raw talent. The artistry is lacking with many sobs, over acting and mistaken cues. The 1902 and 1903 clearly show a tenor with a lot to learn. But learn it he did. His 1904 sessions show a mature artist on par with any heard since. His voice matures before your very ears and by 1910, you wonder if you will ever listen to any other tenor the same way again.

The engineering used for this set is wonderful. There is no attempt at all to use the soundstream process of computer sound enhancement as heard on the RCA issued sets. These are near perfect mint conditioned discs copied by engineer extraordinary Ward Marston. They sound like natural 78s, they way Caruso himself must have heard the playbacks at the (RCA) Victor studios.

Also included are outtakes and extra takes. There is a "Celeste Aida" from 1908, complete with a broken high note, previously released by RCA in a 1973 set commemorating the tenor's centenary birthday. But there are new treasures here as well, including extra takes of two of Caruso's greatest recordings, the Italian song "L'Alba separa dalla l'uce ombra" and an aria from Rubinestine's Nerone. Listening to them, one wonders what Caruso could have possible thought inadquate in those long lost altenative takes.

Finally, there is the simple joy of hearing so many things so well sung. Caruso was the pinnacle of the tenor art. He can be compared to no other single tenor since ... he has the brilliant ring of Bjorling, the passion of Gigli, the beauty of Gedda, the youthful enthusiasm of Lanza, the warm tonal quality of Tucker, the pure strength of Corelli, the charasma of Pavarotti and the artestry of Domingo.

Whether you are an opera fan, a voice fan or just a music lover. This set is worth every penny.

Todd Kosovich

The Art of Courtly Love - David Munrow & The Early Music Consort of London

Average customer rating:

Superb Early Music. Buy It.
A Fiver from one of the Archangels of early music performance
Outdated but Still Rivetingly Interesting
If 6 were available, this would get them!
One of the finest early music performances ever recorded

The Art of Courtly Love - David Munrow & The Early Music Consort of London

Manufacturer: Virgin Records Us
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

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

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

Music of the Gothic Era
The Art of the Netherlands
Music Of The Crusades
Machaut: La Messe de Nostre Dame; Songs from Le Voir Dit
Early Music Festival / David Munrow, Early Music Consort

ASIN: B000002SSB
Release Date: 1996-07-16

Tracks:

A vous douce debonaire (Chansons)
Hareu! Hareu! le feu - Helas! ou sera pris confors (motet)
Amours me fait desirer (ballade)
Trop plus est belle - Biaute paree - je ne sui mie certeins (motet)
Amis tout dous vis (rondeau)
Se ma dame m'a guerpy (virelai)
Se je souspir (virelai)
Dame se vous m'estes lointeinne (ballade)
Quant je sui mis au retour (virelai)
Mes esperis se combat (ballade)
Ma fin est mon commencement (rondeau)
Douce dame jolie (virelai)
De Bon Espoir - Puis Que la douce rousee (motet)
De toutes flours (ballade)
Quant Theseus - Ne quier veoir (double ballade)
Anon La Septime estampie Real (dance)
Quant j'ay l'espart (rondeau)
Phyton le mervilleus serpent (ballade)
Armes amours - O flours des flours (double ballade)
A l'arme a l'arme (virelai)
Phiton Phiton (virelai)
Two variants on the tenor 'Roussignoulet du bosi' Borlet: He tres doulz roussignol (virelai)
Fumeux fume (rondeau)
De home vray (ballade)
Istampitta Tre fontane (dance)
Ma douce amour (ballade)

Tracks:

Tres doulz amis - Ma dame - Cent mille fois (rondeau)
Plasanche or tost (virelai)
Amour m'a le cuer mis (ballade)
Tribum quem (motet)
Helas! je voy mon cuer (ballade)
Contre le temps (virelai)
Andray soulet (canon)
Le greygnour bien (ballade)
Restoes restoes (virelai)
Ce moys de may (rondeau)
La belle se siet (ballade)
Je ne fai tousjours que penser (rondeau)
Files a marier (chanson)
Amoreux suy et me viente toute joye (rondeau)
Je loe Amours et ma dame mercye (ballade)
Navre je sui d'un dart penetratif (rondeau)
Lamentatio Sanctae Matris Ecclesiae Constantinopolitanae (O tres piteulx - Omnes amici) (motet)
La Spagna (Variant 1) (basse danse)
Par droit je puis bien complaidre (rondeau)
Donnes l'assault (rondeau)
Vostre tres doulx regart (rondeau)
Helas mon dueil (virelai)
Bien puist (rondeau)
Vergine bella (stropha)
La Spagna (Variant 2)

Customer Reviews:

Superb Early Music. Buy It........2005-12-13

'The Art of Courtly Love' is a two CD set, condensed from a three LP album performed by The Early Music Consort of London. I know less than I would like about early music, considering how much I enjoy it, but one very important thing I do know is that the director of this recording, David Munrow was, until his untimely death, the big man in early music.

One of the many things I especially like about this collection is that by showcasing a lot of vocal music, the tinny quality of a lot of early music is moved to the background. Antother thing I like is the fact that one can plainly distinguish secular from liturgical music by listening carefully to these selections. The biggest differences I see are the appearance of percussion instruments and male / female duets.

One reviewer commented on the quality of the notes. I agree they are good, but only about average for an old music offering by a major label.

Highly recommended to all who like early music.

A Fiver from one of the Archangels of early music performance.......2005-06-26

I bought this when the album was first released. Even though scholarship has advanced, and it can be argued that Munrow's interpretations are dated, what has been lost over the years is the joy in performing this music. Many modern performances are ponderous and much, much too serious. But David Munrow found this music as a wonderous discovery. Through albums such as this one, he released into the open air music that had been locked away, languishing in the libraries for years, trotted out occasionally for a scholarly study, and then tucked back on the shelves. Munrow's enthusiasm for this music is evident in this collection, and his performances make them walk - no, dance - in the open air once more. This album is beautifully performed. I hope the notes in the CD are as good as the ones in my original release.

In 1974, I had the great pleasure of meeting David Munrow and the other members of the Early Music Consort, and was blown away with that enthusiasm and unselfishness, their willingness to discuss their work - I remember Munrow trading recorder performance tips with a friend of mine - and Munrow's truly amazing store of energy. He radiated! : -)

Outdated but Still Rivetingly Interesting.......2005-05-01

This 2-CD boxed set is the digital version of a 3-LP box from 1973 and was reissued in 1996 as part of the edition with which EMI/Virgin celebrated the twentieth anniversary of David Munrow’s unfortunate demise. The recordings, made at London’s prestigious Abbey Road studios, are digitally remastered to a very high standard, so that I found myself enjoying them via headphones more than via loudspeakers, something which is pretty unusual with CDs from the old analogue days. The two discs contains no less than some 156 minutes (51 tracks) of absolutely fascinating music. The first part is devoted to Guillaume Machault’s songs, works which can be dated around 1350 to 1360. The second part of the programme is concerned with the so-called avantgarde from Avignon (including names such as Matteo da Perugia), composers who wrote for esoteric circles around 1380 to 1410. And the third part (the third LP of the original) is devoted to fifteenth-century music from the court of Burgundy, the two great composers here being Dufay and Binchois.

Of course, David Munrow’s performances, fascinating and rivetingly interesting as they are, were shaped by his own interests and research at the time, and the booklet notes point out that since then “scholarship and performance practices have moved on healthily”, which I interpret to mean that today nobody would dream of performing this music the way Munrow did: for instance, he has most of the songs accompanied by a whole plethora of ancient instruments, although today it is generally agreed that works from this period should be sung unaccompanied or with minimal instrumental support. Munrow also performs some of the songs as purely instrumental pieces, a legitimate decision perhaps. Munrow also uses the two countertenors James Bowman and Charles Brett for many of the songs, and not everyone will appreciate being bombarded with their somewhat forced androgynous falsetto for nearly three hours; personally, it was the singing of Martyn Hill, tenor, and Geoffrey Shaw, baritone, which delighted my ear during these sessions. Along with the instruments, of course: slide trumpet, cornett, shawm, crwth, fiddle, rebec, citole and so on, plus several tracks with the amazing Christopher Hogwood playing an organ that sounds, at least, very old – unfortunately, the otherwise good liner notes give no details concerning the instruments used.

The Old French texts are printed in full with English translations, so it is possible to follow every nuance. Exceptionally good value for money! – For more historically-informed performances of music of this kind, I suggest searching names such as Gothic Voices, Hilliard Ensemble or Binchois Consort.

If 6 were available, this would get them!.......2002-02-16

Lovely, beautiful, amazing, charming, and vital. I'll not replicate the previous reviewer, though my favorites differ from his, but I bought this on LP 25 years ago and it changed my life. These are exhilarating performances, that move you effortlessly through time and space into a world both far away and very, very close. So much great music, wonderfully performed. Take a chance--it might change your life as well!

One of the finest early music performances ever recorded.......2001-09-03

And an intriguing work of scholarship besides. This was originally released back in the early 1970's by the late David Munrow as a three album box set.

The first part of this recording is basically dedicated to Machaut and his contemporaries. The chanson -Amours me fait desirer- remains striking to this day, with its unusual leap in its first measures. -Amis tout dous- is a lovely miniature, and so also is the monophonic -Quant je sui mis au retour-. But the high point of this part of the record is -Quant j'ay l'espart-, a duet between countertenor and bass cornetto (a serpent?), understated and heartbreaking.

The second part is weirdness from the Avignon court of the Popes, the time when rhythmic notation got more sophisticated, and composers grew more experimental. The unusual chromaticism of -Fumeux fume- is given a great performance here. The -Tre fontane- estampie is given a reading here that is truly frenzied. -Plasanche, ou tost- is a lovely song. You also get rhythmic oddities like -Le greygnour bien-.

The third album nears Renaissance music, and focuses on Dufay and Binchois. Loud instruments like sackbuts and shawms are featured on pieces like -Donnes l'assault-, which seems risky, but sometimes works. The usually quiet pieces on the -La Spagna- ground are here given a marching-band performance on loud winds. The real high points here, though, are the motet -O tres piteulx-, Binchois absolutely gorgeous -Amoureux suy-, and the setting of Petrarch's -Vergine bella-.

Tracks:

Boris Godounov: Introduction orchestrale: Scene - Eh bien, qu'avez-vous?
Boris Godounov: A quis nous abandonnes-tu ?
Boris Godounov: Fideles croyants, notre boiar reste inexorable
Boris Godounov: Tu as entendu les hommes?
Boris Godounov: Scene du Couronnement, Coronation Scene
Boris Godounov: Mon ame est en peine
Boris Godounov: Encore un dernier recit
Boris Godounov: O Dieu de force, Dieu de Justice
Boris Godounov: Tu as ecrit toute la nuit
Boris Godounov: Oh, je me souviens - Ouglich
Boris Godounov: On sonne les matines - Boris, tout tremble devant toi
Boris Godounov: J'ai pris un caneton gris
Boris Godounov: Peuple chretien, bonnes gens aimes de Dieu
Boris Godounov: Dans la bonne ville de Kazan
Boris Godounov: Pour moi!
Boris Godounov: Qui etes-vous? - D'humbles pelerins, de saints moines
Boris Godounov: Que faites-vous, maudits coquins - Fuite de Grigori

Tracks:

Boris Godounov: Ou est mon fiance?
Boris Godounov: Oh, c'est assez, Princesse - Chanson du Moustique, Mosquito Song
Boris Godounov: Ah, Nounou, en voila un conte, Jeu de la Main chaude, The Hand-Clapping Game
Boris Godounov: Qu'y a-t-il?
Boris Godounov: Comme c'est bien, mon fils!
Boris Godounov: Aie, chut! - Qu'y a-t-il donc?
Boris Godounov: A cause de notre Perroquet
Boris Godounov: Mon fils, mon cher enfant!
Boris Godounov: Tsarevitch, obeis!
Boris Godounov: Tu ne me crois donc pas?
Boris Godounov: Assez, ah, je suffoque!
Boris Godounov: Au bord de la Vistule bleue
Boris Godounov: Cela suffit!
Boris Godounov: Je n'ai pas besoin de toi aujourd'hui, Rouzia
Boris Godounov: Ah! Mon Dieu! Cest vous, mon Pere!
Boris Godounov: A minuit, dans le jardin
Boris Godounov: Prends-garde, Tsarevitch - La Polonnaise - Nous aurons bientot conquis la Moscovie

Tracks:

Boris Godounov: Elle! Marina!
Boris Godounov: Eh bien, la messe est-elle finie?
Boris Godounov: Trrr, trrr, trrr
Boris Godounov: Aaah! Boris! Ils ont offense L'Innocent!
Boris Godounov: Nobles Boiars!
Boris Godounov: Eh bien, passons au vote
Boris Godounov: Que dites-vous la, Boiars!
Boris Godounov: Arriere, arriere
Boris Godounov: Auguste Souverain - Mon recit sera simple et bref
Boris Godounov: J'etouffe
Boris Godounov: Pleurez, bonnes gens
Boris Godounov: Amene-le par ici
Boris Godounov: Trrr...le bonnet de fer
Boris Godounov: Le ciel et la lune se sont eteints
Boris Godounov: Hardi! notre male temerite
Boris Godounov: Domine, salvum fac regem
Boris Godounov: Qui le Malin nous envoie-t-il encore

Customer Reviews:

Stellar performance of Russia's National opera masterpiece!!.......2004-07-02

Let's start with the quibbles, on account of their relative insignificance: 1) I miss the real bells used on the Gjórgiev (especially!!!) and the Abbado recordings (the samples I got to hear alerted me to this - the chimes used here sound poor by comparison); 2) the Russian original-language libretto is incomplete (were more space allowed here, I'd have published the missing parts in the original Russian). [I recommend downloading the libretto from other websites - and then piecing in the few things that are otherwise absent from the regular-performance libretto from the booklet supplied - Rostropóvich's reading gives this opera (a composite of the 1868 and 1872 versions) as completely as possible (the réprise of the Simpleton's scene in the last tableau, originally salvaged from the St. Vasíljiy's (Basil's) tableau cut in the 1872 version and which however was reinstated in this recording, could have been omitted consequently - though I'm glad it wasn't!).] 3) I wish the orchestra (very good indeed!!!) could be heard more even when the singers are in full voice (this defect relative to Culshaw's Wagner recordings - my standard in taste - also afflicts Rostropóvich's otherwise superb recording of Shostakóvich's "Lady Macbeth of Mcjénsk").

Otherwise, a very powerful reading with everybody in peak form fully deserving a full 5 stars - even the venerable arch-star of Russian soprani from 1952-82 (from her début with the Boljshóy to her retirement from live operatic performances - of course she was forced out of the Boljshóy in 1974 into exile...) Vishñévskaja, who was close to being 61 years of age at the time of this recording, comes off as well as everybody else (you could hardly tell her age)! Another success is that of Mira Zakai as one of the nurses (in Act II) - she's much better here than in Solti's recording of Mahler's 2nd Symphony with the CSO (where she sounds so uninvolved as well as plain when compared to Helen Watts or Maureen Forester). Gedda sings the Simpleton's part as movingly as could be anticipated from somebody who has given so much of his career to the Russian repertoire, while Plishka gives a wonderfully warm Pimjén. As to Ruggero Raimondi - wow, what a wonderfully evocative portrayal of the demented Carj (C pronounced as 'ts' like in "bolts"; 'j' just softens the 'r' somewhat...)!!! One doesn't need a bassus profundus (which he's not - though his low notes lack nothing!) to do justice to this rôle after all...

Finally, regarding the version of the score being used: while it's indeed based on the 1872 "definitive" version, much stuff cut therefrom which was in the 1868 original version makes it into the recording (not a note is cut from the score). While obviously the earlier version of Act II as well as a few other snippets in Act I (when Grigóriy wakes up) are superseded (the latter's snippets are merely the same music given to offstage choir instead of the strings as done initially), other things (e.g., the dismissal of the crowd in the Prologue's 1st scene, the scene in front of St. Vasíljiy's Cathedral) are fully reinstated - all of this can be vouched for from the full score 2-book set published by Oxford University Press giving Musórgskiy's original version.

Most definitely recommended in all events and regards!!! [Hopefully Erato will reissue this recording as it's amply deserving!]

a solid, exciting production, supurb sound.......2000-07-29

Mussorgsky's Boris Godunov is so rich that it never can be encompassed by one interpretation, however strong. It's worth having two or more versions, including this one, conducted by Rostropovitch, on hand. Here's how it stacks up with two other fine quality, stereo recordings using Mussorgsky's original orchestration: Abbado's and Gergiev's.

Rostropovitch and the ensemble under his baton, provide both a polished orchestral presentation and dynamic drama dominated by one of the best Borises of the digital age. The story and the music reinforce one another seamlessly.

The dramatic presentation in the Rostropovitch version is much more exciting than that in the Abbado version, which focuses more on creating a flawlessly recorded, stunning symphonic and choral atmosphere. In the Rostropovitch version, beautiful children's voices add both an innocent element to Mussorgsky's dark drama and another stunning instrument to the orchestration. In the perfectly polished Abbado version, adult women with full voices flawlessly sing the children's roles.

Rostropovitch's production lacks some of raw dramatic heft of Gergiev versions, but it has more polish. The Gergiev CD set offers two complete versions, both Mussorgsky's 1868 version and the 1873, each complete and with different casts, making it a bargain, if such a thing can be said about overpriced classical music CDs. The Rostropovitch version contains only the 1872 score.

Tracks:

La Boheme: Che Gelida Manina
La Boheme: O Soave Fanciulla - Luciano Pavarotti/Rolando Panerai/Mirella Freni
La Boheme: In Un Coupe... O Mimi, Tu Piu Non Torni - Luciano Pavarotti/Rolando Panerai
Madama Butterfly: Bimba, Bimba, Non Piangere - Luciano Pavarotti/Mirella Freni/Christa Ludwig
Madama Butterfly: Viene Le Sera - Luciano Pavarotti/Mirella Freni/Christa Ludwig
Madama Butterfly: Vogliatemi Bene - Luciano Pavarotti/Mirella Freni
Madama Butterfly: Addio Fiorita Asil - Luciano Pavarotti/Robert Kerns
Manon Lescaut: Ma Si Vi Talenta... Tra Voi Belle
Manon Lescaut: Donna Non Vidi Mai
Manon Lescaut: Presto! In Fila... No, No Pazzo Son! - Luciano Pavarotti/Frederico Davia/James Courtney/Metropolitan Chor
Tosca: Recondita Armonia
Tosca: Mario! Mario! Mario! - Luciano Pavarotti/Richard Van Allen/Mirella Freni
Tosca: Or Lasciami Al Lavoro - Luciano Pavarotti/Mirella Freni
Tosca: E Lucevan Le Stelle
La Fanciulla Del West: Che'ella Mi Creda
Turandot: Non Piangere Liu... Ah Per L'Ultima Volta - Luciano Pavarotti/Montserrat Caballe/Nicolai Ghiaruov/Tom Krause/Pier Francesco Poli...
Turandot: Nessun Dorma! - Luciano Pavarotti/John Alldis Chor

Tracks:

I Lombardi: La Mia Letizia Infondere
Macbeth: O Figli Ah, La Paterna Mano
Luisa Miller: Il Foglio Dunque! - Luciano Pavarotti/Fernando Pavarotti
Luisa Miller: Quando Le Sere Al Placido
Rigoletto: Questa O Quella
Rigoletto: Ella Mi Fu Rapita... Parma Veder
Rigoletto: La Donna E Mobile
Il Trovatore: Quale D'armi Fragor - Luciano Pavarotti/Joan Sutherland
Il Trovatore: Ah Si Ben Mio - Luciano Pavarotti/Joan Sutherland/Graham Clark
Il Trovatore: L'onda De'suoni Mistici - Luciano Pavarotti/Joan Sutherland/Graham Clark
Il Trovatore: Di Quella Pira - Luciano Pavarotti/Joan Sutherland/Graham Clark/London Opr Chor
La Traviata: Libiamo (Brindisi/Drinking Song) - Luciano Pavarotti/Joan Sutherland
La Traviata: Lunga Da Lei... De' Mici Bollenti Spiriti - Luciano Pavarotti/London Opr Chor
Un Ballo In Maschera: La Rivedra Nell'Estasi - Luciano Pavarotti/Kathleen Battle/Robert Lloyd/Malcolm King
Un Ballo In Maschera: Di Tu Se Fedele - Luciano Pavarotti/Kathleen Battle/Robert Lloyd/Malcolm King
Un Ballo In Maschera: Forse La Soglia... Ma Se M'e Forza Perderti
La Forza Del Destino: Fratello
Aida: Celeste Aida
Aida: Pur Ti Riveggo - Luciano Pavarotti/Maria Chiara
Requiem: Dies Irae: Ingemisco
Otello: Gia Nella Notte Densa - Luciano Pavarotti/Kiri Te Kanawa

Tracks:

Don Giovanni: Dalla Sua Pace
L'Elisisr D'Amore: Una Furtiva Lagrima
I Puritani: A Te, O Cara - Luciano Pavarotti/Nicolia Ghiaaurov/Giancarlo Puccardi/Joan Sutherland
Martha: M'appari
L'Africaine: O Paradiso
Carmen: La Fleur Que Tu M'avais Jetee
Werther: Pourquoi Me Reveiller
Fedora: Amor Ti Vieta
Cavalleria Rusticana: Mamma, Quel Vino E Generoso - Luciano Pavarotti/Ida Bormida/Julia Varadyy
Pagliacci: Vesti La Giubba
Mattinata
Soiree Musicales: La Danza
Return To Sorrento
Core 'N Grato
Rondine Al Nido
Mamma
Funiculi Funicula
Non Ti Scordar Di Me
La Mia Canzone Al Vento
O Sole Mio