Don't Box Me in

Editorial Reviews
Album Description
"Heaven in Your Heart, and in Your Pocket Too!" "Don't Box Me In" part 2, is a four part teaching and motivational tool. This series is for dreamers and visionaries. Stop waiting on blessings to come down and realize they are already within you. Take control of your potential, listen to the teachings, learn from the principles and leap into an extraordinary understanding of wealth!

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

Artistry of Elly Ameling (Coll)
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Elly Ameling now more available

Delight in every note

While they last...

Treasures From a Treasure

More than fully earned praise for an exceptional singer.

Artistry of Elly Ameling (Coll)
Elly Ameling
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Release Date: 2003-10-14

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Customer Reviews:

Elly Ameling now more available .......2007-03-07

I had a 33 rpm album of Elly Ameling singing Schubert lieder accompanied by piano and clarinet at times. It was one of my all time favorite albums so I have been disappointed that I have not been able to find it anywhere on CD.

Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.

I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.

I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.

Delight in every note.......2006-03-10

To speak as briefly as possible about this superb collection from an equally superb singer, what can I say but that Ms Ameling possessed a voice that shone with radiant warmth and star-like shimmer? And unlike many another light lyric soprano, Elly Ameling was possessed of a very high standard of musicianship, considerable intelligence, and a sort of immediate charm that captivates the listener.

So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.

I recommend this set unequivocally. It truly is sheer delight.

While they last..........2005-05-17

Elly Ameling held the quiet stage for recitals of great artistry and dignity for several decades and sadly most of the enormously successful CDs of her long career output are now unavailable. For those who have little access to the documentation of this very special artist, this box set is a must. It is a compilation of many of her recordings with differing accompanists, conductors, orchestras and composers. And while not all of the choices for inclusion here would be considered her greatest moments, there are enough works that sustain the warm memories of the little Dutch hausfrau who quietly and simply paid homage to composers with her clear and intelligent musicianship and radiant voice.

Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.

Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05

Treasures From a Treasure.......2004-09-25

Treasures from a Treasure.

Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.

What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.

I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)

Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise.

More than fully earned praise for an exceptional singer........2003-07-15

As I had the privilige of hearing this outstanding Lied-singer during her long career in Holland and being the proud possessor of almost all her recordings, I cannot but fully agree with the professional and joyful review of Mr. Robert Holliston from Victoria, B.C. Canada.
Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released.
Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!)
For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds....
Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!

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The Complete Caruso

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001TSWQO
Release Date: 2004-11-09

Average customer rating:

I waited for this for five years
Excellent collection but BIG PUBLISHING MISTAKE!
ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS
SUCH MAGICAL MUSIC OF THE NIGHT!
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ASIN: B00005R5UJ
Release Date: 2001-11-20

Tracks:

Jesus Christ Superstar: Overture - Andrew Lloyd Webber
Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
Jesus Christ Superstar: Superstar - Murray Head
Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
Evita: Another Suitcase In Another Hall - Barbara Dickson
Evita: Don't Cry For Me Argentina - Julie Covington
Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
Cats: The Jellicle Ball - Andrew Lloyd Weber
Cats: Memory - Elaine Paige
Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
Cats: Mr Mistoffelees - Paul Nicholas
Song And Dance: Take That Look Off Your Face - Marti Webb
Song And Dance: Tell Me On A Sunday - Marti Webb
Song And Dance: Unexpected Song - Sarah Brightman
Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
Song And Dance: Introduction - Andrew Lloyd Webber
Song And Dance: Variations 1 -4 - Andrew Lloyd Webber

Tracks:

Starlight Express: Starlight Express - El Debarge
Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
Starlight Express: Light At The End Of The Tunnel - The Company
Requiem: Hosanna - Placido Domingo
Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
The Phantom Of The Opera: The Music Of The Night - Michael Crawford
The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
The Phantom Of The Opera: Masquerade - The Company
The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
Aspects Of Love: Love Changes Everything - Michael Ball
Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
Aspects Of Love: Anything But Lonely - Sarah Brightman
Aspects Of Love: Chanson D'Enfance - Sarah Brightman

Tracks:

Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
By Jeeves: Half A Moment - Sarah Brightman
Sunset Boulevard: With One Look - Glenn Close
Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
Sunset Boulevard: Sunser Boulevard - Alan Campbell
Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
Whistle Down The Wind: Cold - Everly Brothers
Whistle Down The Wind: No Matter What - Children/Adult Chorus
Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
The Beautiful Game: Overture - Andrew Lloyd Webber
The Beautiful Game: The Beautiful Game - The Company
The Beautiful Game: Our Kind Of Love - Hannah Waddingham
The Beautiful Game: Dont Like You - Josie Walker/David Shannon
The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir

Tracks:

Oh What A Circus - David Essex
Memory - Betty Buckley
The Phantom Of The Opera - Sarah Brightman/Steve Harley
All I Ask Of You - Sarah Brightman/Cliff Richard
Love Changes Everything - Michael Ball
Any Dream Will Do - Donny Osmond
Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
As If We Never Said Goodbye - Barbra Streisand
The Perfect Year - Dina Carroll
With One Look - Petula Clark
You Must Love Me - Madonna
The Heart Is Slow To Learn - Kiri Te Kanawa
A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
Whistle Down The Wind - Tina Arena
No Matter What - Boyzone
The Vaults Of Heaven - Tom Jones
Try Not To Be Afraid - Boy George
Pie Jesu - Charlotte Church

Tracks:

Make Believe Love - Wes Sands
Down Thru' Summer - Ross Hannaman
I'll Give All My Love To Southend - Ross Hannaman
Believe Me I Will - Sacha Distel
Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
Try It And See - Rita Pavone
Come Back Richard Your Country Needs You - Time Rice And The Webber Group
Goodbye Seattle - Paul Raven
John 19:41 - The Andrew Lloyd Webber Orchestra
What A Line To Go Out On - Yvonne Elliman
Disillusion Me - Gary Band
The Ballad Of Robert And Peter - Tim Rice
Christmas Dream - Maynard Williams
It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
Magdalena - Tony Christie
Buenos Aires - The Roja Rockers
Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
I Could Have Given You More - Petula Clark
I've Been In Love Too Long - Marti Webb
Benedicite - The Stephen Hill Singers

Album Description

Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and Dance

Disc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love

Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game

CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church

Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers

Customer Reviews:

I waited for this for five years.......2006-06-30

Between Amazone, Ebay and Napster, I don't usually buy CDs anymore, and I usually wait till I can buy them cheaper "new and used". When this set came out, I was excited, mainly by Disc 5, but wasn't going to spend $70 on it. I waited till it was cheap enough, and got it for Father's day this year.
It was worth the wait.

The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.

I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.

There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."

But the selections on CDs 1-3 don't make sense.

First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.

Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?

On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?

The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).

There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.

With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?

Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.

In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.

Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10

Please beware they made a mistake on this. It's actually the shortened Ray Shell version of STARLIGHT EXPRESS from the original 1984 London cast - NOT the El Debarge single from 1987 like it says on the box. I don't know how they let that goof pass. Sorry to Ray Shell. Having said that, this is an outstanding compilation of Lloyd Webber's greatest hits.

ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21

Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards. But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging.

Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.

Here are my basic impressions and comments regarding the material on the discs:

* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.

* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.

* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.

* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.

* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.

Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19

"Evita." "Sunset Blvd." "Starlight Express." "Jesus Christ Superstar." "Joseph and the Amazing Technicolor Dreamcoat." "Requiem." "Aspects of Love." The man who is the most recognized composer in the history of the musical theatre, the man who has won more Tonys than any other composer, the man who boasts the best-selling show of all time ("The Phantom of the
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.

A Must Have for Sir Andrew fans.......2002-05-21

This five-CD collection of Andrew Lloyd Webber's career is fantastic. It leaves virtually no stone unturned. I have no doubt that diehard Webber fans will love this, especially for the 5th disc entitled "From the Vaults." This disc alone is worth the price as it contains tunes never before heard by the typical fan. Who knew Elvis did a Lloyd Webber tune?!? I didn't! Also the tune "Benedictine" which the composer wrote for his most recent marriage is not only pretty, but it has the same medley as "The Lady's Paying" from "Sunset Blvd." which I found highly enjoyable. Another great track is the composer himself singing a cut song from "Cats" entitled "Pollicle Dogs and Jellicle Cats" which has the same tune as "Jellicle Songs for Jellicle Cats," but to hear Sir Andrew sing is a blast...he sounds a lot like Al "Year of the Cat" Stewart.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!

Top 100 Masterpieces of Classical Music (Collectors Edition) (Box Set)

Average customer rating:

Top 100 Masterpieces of Classical Music (Collectors Edition) (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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General | Chamber Music | Classical | Styles | Music

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Scherzo | Forms & Genres | Classical | Styles | Music

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General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

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Oratorios | Opera & Vocal | Styles | Music

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Classical Moods
Classical Masterpieces of the Millennium [20 CD Set]
Masters of Classical Music (Box Set)

ASIN: B00008L428
Release Date: 2003-02-13

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman

Average customer rating:

Refreshing and Surprising!
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.
Best ever!!

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Decca Records Store | Specialty Stores | Music
Similar Items:

Beethoven: Symphonies Nos. 1-9 (Fra)
Wagner: Der Ring des Nibelungen
Weber: Der Freischütz
Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin
Complete Mozart Symphonies / Pinnock, English Concert

ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

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 Top 100 Masterpieces of Classical Music (Box Set)

Average customer rating:

Decent Quality, But a Little Rushed
Decent, but not exciting
Decent, but not exciting
Sounds good to me.
Wonderful Selection

The Top 100 Masterpieces of Classical Music (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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Classical Masterpieces of the Millennium [20 CD Set]
Planet Earth - The Complete BBC Series

ASIN: B000001VUG
Release Date: 1994-07-14

Tracks:

Toccata In D Minor: Toccata In D Minor (1709) - 100 Masterpieces Vol. 1 (1685-1730)
Canon In D: Canon in D (1698) - 100 Masterpieces Vol. 1 (1685-1730)
Brandenburg Concerto No. 3, 1st Movement: Brandenburg Concerto No. 3, 1st Movement (1721) - 100 Masterpieces Vol. 1 (1685-1730)
Water Music, Suite No. 2 In D: 4.1 1st Movement - 4.2 Alla Hornpipe - 4.3 Minuet - 4.4 Lentement - 4.5 Bourree - 100 Masterpieces Vol. 1 (1685-1730)
Trumpet Tune And Air: Trumpet Tune And Air (1685) - 100 Masterpieces Vol. 1 (1685-1730)
Orchestral Suite No. 3 In D: Air - 100 Masterpieces Vol. 1 (1685-1730)
The Four Seasons - Spring: The Four Seasons - Spring (1725): 7.1 Allegro - 7.2 Largo e painissimo - 7.3 Allegro Bela Banfalvi - 100 Masterpieces Vol. 1 (1685-1730)
Adagio: Adagio (1730) - 100 Masterpieces Vol. 1 (1685-1730)
Mandoline Concerto In C, RV 425: 9.1 Allegro - 9.2 Largo - 9.3 Allegro - 100 Masterpieces Vol. 1 (1685-1730)
Orchestral Suite No. 2 in B Minor: Minuet and Badinerie (1721) : - 10.1 Minuet - 10.2 Badinerie - 100 Masterpieces Vol. 1 (1685-1730)

Tracks:

Messiah: 'Hallelujah' (1742)
'Orpheus and Eurydice': Dance Of The Blessed Spirits (1762)
'Christmas Oratorio': Sinfonia In G (1734)
Violin Concerto No.3 in G: Violin Concerto No.3 In G, 1st Movement (1775)
'Xerxes': Largo (1734)
Flute Concerto In G 'La Notte': VI. Allegro (1731)
'Solomon': Arrival Of The Queen Of Sheba (1749)
Oboe Concerto In D Minor: Oboe Concerto In D Minor, 2nd Movement (1731)
Concerto grosso In A Minor Op.6 No.4: 9.1 Larghetto affettuoso - 9.2 Allegro - 9.3 Largo Piano - 9.4 Allegro
Violin Concerto No.5 In A, 2nd Movement: Violin Concerto No.5 In A, 2nd Movement (1775)

Tracks:

Eine kleine Nachtmusik: 1st movement (1787)
Piano Concerto No. 21 in C: 2nd Movement (Elvira Madigan)
The Marriage Of Figaro: Overture (1786)
Flute Concerto No. 2 In D: 2nd Movement (1778)
Piano Sonata In A (1778): Rondo Alla Turca
Don Giovanni: Overture (1787)
Horn Concerto No. 3 In E Flat: 2nd Movement
Piano Concerto No. 23 in A: 1st Movement (1786)
The Marriage Of Figaro: March (1786)
Serenata Notturna: 10.1 Marcia. Maestoso - 10.2 Menuetto - 10.3 Rondeau. Allegretto

Tracks:

Symphony No. 40: 1st Movement (1788) - 100 Masterpieces Vol. 4 (1788-1810)
'Moonlight' Sonata: 1st Movement (1801) - 100 Masterpieces Vol. 4 (1788-1810)
Symphony No. 94: 'Surprise' ,2nd Movement (1791) - 100 Masterpieces Vol. 4 (1788-1810)
The Magic Flute: Overture (1791) - 100 Masterpieces Vol. 4 (1788-1810)
Fur Elise: Fur Elise (1810) - 100 Masterpieces Vol. 4 (1788-1810)
String Quartet In C: Emporor's Hymn - 100 Masterpieces Vol. 4 (1788-1810)
Symphony No. 5: 1st Movement (1808) - 100 Masterpieces Vol. 4 (1788-1810)
Clarinet Concerto In A: 2nd Movement (1791) - 100 Masterpieces Vol. 4 (1788-1810)
Minuet In G: Minuet in G (1796) - 100 Masterpieces Vol. 4 (1788-1810)
Trumpet Concerto In E Flat: 3rd Movement - 100 Masterpieces Vol. 4 (1788-1810)

Tracks:

The Barber Of Seville: Overture (1821)
Symphiny No.8 In B Minor: 'Unfinished' 2nd Movement (1822)
Spring Song: Spring Song (1841)
Polonaise In A, Op.40 No.3: 'Military'
Rosamunde: Ballet Music In G
Der Freischutz: Overture (1820)
Ave Maria: Ave Maria (1825)
Symphony No.4 In A: 'Italian', 1st Movement (1833)
Traumerei: Traumerei (1838)
German Dance No. 1: German Dance No. 1 (1811)

Tracks:

A Midsummer Night's Dream: Wedding March (1843) - 100 Masterpieces
Liebestraum No. 3 In A flat: Liebestraum No. 3 In A Flat (1847) - 100 Masterpieces
Nabucco: Overture (1842) - 100 Masterpieces
The Merry Peasant: The Merry Peasant (1848) - 100 Masterpieces
Hungarian Rhapsody No. 2: Hungarian Rhapsody No. 2 (1847) - 100 Masterpieces
Lohengin: Prelude to Act 3 (1850) - 100 Masterpieces
La Traviata: Prelude to Act 1(1853) - 100 Masterpieces
Tannhauser: Arrival Of The Guests At Wartburg (1845) - 100 Masterpieces
Violin Concerto In E Minor: Violin Concerto In E Minor, 2nd Movement (1845) - 100 Masterpieces
Poet And Peasant: Overture (1846) - 100 Masterpieces

Tracks:

Orpheus In The Underworld: Overture (1858)
Melody In F: Melody In F (1858)
Les Preludes: Les Preludes (1854)
Waltz In A Flat: Waltz In A Flat (1865)
The Force Of Destiny: Overture (1862)
I Love You: I Love You (1864)
The Bartered Bride: Overture (1866)
The Tales Of Hoffmann: Barcarolle (1864)
Tritsch Tratsch Polka: Tritsch Tratsch Polka (1858)
Light Cavalry: Overture (1866)

Tracks:

Piano Concerto No. 1 In B Flat Minor: 1st Movement (excerpt) (1875) - 100 Masterpieces
Cradle Song: Cradle Song (1868) - 100 Masterpieces
The Moldau: The Moldau (1875) - 100 Masterpieces
The Valkyrie: Ride Of The Valkyries (1870) - 100 Masterpieces
Peer Gynt: Morning (1876) - 100 Masterpieces
Carmen: Les Toreadors (1875) - 100 Masterpieces
Coppelia: Notturno (1870) - 100 Masterpieces
Marche Slave, Op. 31: Marche Slave, Op. 31 (1876) - 100 Masterpieces
L'Arlesienne: Intermezzo (1872) - 100 Masterpieces
The Blue Danube: Waltz (1867) - 100 Masterpieces

Tracks:

Eugene Onegin: Polonaise (1878) - 100 Masterpieces Vol. 9
Symphony No.9 'From The New World': 2nd Movement (1893) - 100 Masterpieces Vol. 9
The Nutcracker: Waltz of the Flowers (1892) - 100 Masterpieces Vol. 9
Capriccio espagnol: Alborado (1887) - 100 Masterpieces Vol. 9
The Last Spring - 100 Masterpieces Vol. 9
Slavonic Dance No. 2: Slavonic Dance No. 2 (1886) - 100 Masterpieces Vol. 9
The Sleeping Beauty: Introduction (1889) - 100 Masterpieces Vol. 9
Twilight Of The Gods: Siegfred's Death And Funeral March (1877) - 100 Masterpieces Vol. 9
Songs My Mother Taught Me: Songs My Mother Taught Me (1880) - 100 Masterpieces Vol. 9
Emperor Waltz - 100 Masterpieces Vol. 9

Tracks:

Also sprach Zarathustra: Fanfare (1896)
Symphony No.5: Adagietto (1902)
Finlandia: Finlandia (1899)
Dance Of The Bumble Bee: Dance Of The Bumble Bee (1900)
'Thais': Meditation
Pomp amd Circumstance: March No.1 (1901)
Humoresque: Humoresque (1894)
Valse Triste: Valse Triste (1903)
Vienna Blood: Vienna Blood - Waltz (1899)
Bolero: Bolero (1928)

Customer Reviews:

Decent Quality, But a Little Rushed.......2002-09-20

I have to agree that this is a good collection of music for the money, especially if you are a novice at the Classics like me. Each disc covers a 40 year period with an hour of music and a little bit of history in the cover slip. However, there were some oddities that made me question the quality of this product. First, a few of the songs seemed like the conductor was hurrying them along so the songs on a disc would add up to exactly one hour -- where's the love? I know I'm a novice, but there are just some songs that are so famous that you can pretty easily tell when they are being butchered or compressed. Second, the quality of the product was suspect. Some of the discs looked like they were manufactured in 1990 and some in 1994. The older ones just had the titles on the discs and the newer ones had a screen-printed color change with no information. They couldn't even use the same type of Jewel Case throughout the collection. In total, it's good for beginners and the money, but not much else.

Decent, but not exciting.......2002-09-01

Not bad, but not a perfect as well. The music selection is very questionable for my taste. The performers are not always very suitable for specific masterpieces. It is inherently, just because such mix of names cannot be bad ;). If I will compose such set a lot of forgotten things should take their place.

Decent, but not exciting.......2002-09-01

Sounds good to me........2002-07-25

Bought this CD to calm and relax myself after a hard days work. CD seems like a great collection to me. It's got a lot of songs that I recognize and some that I don't. It does sooth me a bit after the the many stresses of everyday life.

I'm not really a classical music nut like "Frasier Crane" so I'm not sure how much merit I can bring to the table with this review. But I think it's great..!!!

Wonderful Selection.......2001-05-13

Some of the world's truly finest musicians perform some of the all time greatest and most loved musical masterpieces. The CD makes for easy and peaceful listening of an evening.

Average customer rating:

horrible
The best ever symphonic collection of the Fab Four ever!

Symphony for the Stars: The Beatles

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

General | Rock | Styles | Music

General | Rock | Box Sets | Stores | Music
ASIN: B000000KZV
Release Date: 1995-09-01

Tracks:

All You Need Is Love
Hey Jude
Here Comes The Sun
Let It Be
Ob-La-Di, Ob-La-Da
Michelle
And I Love Her
The Long And Winding Road
Can't Buy Me Love
Strawberry Fields Forever
I Want To Hold Your Hand
Penny Lane

Tracks:

Norwegian Wood
I Feel Fine
Something
Lady Madonna
Don't Let Me Down
Lucy In The Sky With Diamonds
Yes, It Is
She Loves You
Hello, Good-Bye
While My Guitar Gently Weeps
Across The Universe
I Should Have Known Better

Customer Reviews:

horrible.......1999-05-23

The beatles are bad enough on their own, they dont need an orchestra to make them worse.

The best ever symphonic collection of the Fab Four ever!.......1999-03-21

The fact you are reading this probably means you are a fan of the Beatles. If you sometimes wish for a collection of orchestral Beatles songs but are unsure of some of the cheap numbers you have heard, well! This set is amazing, the music is rich and full of feeling, a best buy without a doubt. If it were possible I would give it six stars!

Average customer rating:

Wretched marketing excess!
Long Day's Journey. . .
Can A Callas Fan actually live without this?
Indispensable

Recitals 1954-1969
Christoph Willibald Gluck , Charles Gounod , Jules Massenet , Giacomo Meyerbeer , Wolfgang Amadeus Mozart , Giacomo Puccini , Gioachino Rossini , Camille Saint-Saens , Gaspare Spontini , Ambroise Thomas , Giuseppe Verdi , Carl Maria von Weber , Georges Prêtre , Nicola Rescigno , Tullio Serafin , and Duncan Robertson
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

Classical | Box Sets | Stores | Music

Classical | Imports | Stores | Music
ASIN: B00000631A
Release Date: 2002-08-12

Tracks:

Medea: Dei tuoi figli (Atto 1)
La Vestale: Tu che invovo (Atto II)
La Vestale: O Nume tutelar (Atto II)
La Vestale: Caro oggetto (Atto III)
La Sonnambula: Compagne, teneri amici...Come per me serano (Atto I)
La Sonnambula: Oh! se una volta sola...Ah! non creda mirarti..Ah! non giunge (Atto III)

Tracks:

Adriana Lecouvreur: Ecco: respiro appena. Io son l'umile ancella (Atto I)
Adriana Lecouvreur: Poveri fiori (Atto IV)
Andrea Cher: La mamma morta (Atto III)
La Wally: Ebben?... ne andrntana (Atto I)
Mefistofele: L'altra notte in fondo al mare (Atto III)
Il Barbiere di Siviglia: Una voce poco fa (Atto I)
Dinorah: Ombra leggiera
LakmDov'e l'indiana bruna? (Atto II)
I Vespri Siciliani: Mercdilette amiche

Tracks:

Anna Bolena: Piangete voi?...Al dolce guidami castel natio (Atto II)
Hamlet: A vos jeux... Partagez-vous mes fleurs... Et maintenant, ecoutez ma chanson (Acte IV)
Il pirata: Oh! s'io potessi...Col sorriso d'innocenza (Atto II)

Tracks:

Macbeth: Nel di della vittoria...Vieni! t'affretta (Atto I)
Macbeth: La luce langue (Atto II)
Macbeth: Una macchia e qui tuttora (Atto IV)
Nabucco: Ben io t'invenni... Anch'io dischiuso un giorno (Atto II)
Ernami: Surta e la notte... Ernani, Ernani, involami (Atto I)
Don Carlo: Tu che le vanita (Atto IV)

Tracks:

Otello: Mi parea. M'ingiunse di coricarmi... Mia madre aveva una povera ancella (Atto IV)
Otello: Piangea cantando (Atto IV)
Otello: Ave maria piena di grazia (Atto IV)
Aroldo: Ciel, ch'io respiri!...Salvami, salvami tu gran Dio! (Atto I)
Aroldo: O Cielo! Dove son io? (Atto II)
Don Carlo: Non pianger, mia compagna (Atto II)
Don Carlo: O don fatale (Atto III)

Tracks:

I Lombardi Alla Prima Crociata: O Madre, dal cielo soccori (Atto II)
Attila: Liberamente or piangi...Oh! nel fuggente nuvolo (Atto I)
Il corsaro: Egli non riede ancor...Non so le tetre immagini (Atto I)
Il corsaro: Nulla terra... Vola talor dal carcere... Verro... Ah, conforto e sol la speme (Atto II)
Il Trovatore: Tacea la notte placida... Di tale amor (Atto I)
Ivespri siciliani: Arrigo! ah, parli a un core (Atto IV)
Un Ballo in Maschera: Ecco l'orrido campo... Ma dell'arindo stelo divulsa (Atto II)
Un Ballo in Maschera: Morra prima in grazia (Atto III)
Aida: Ritorna vincitor! (Atto I)

Tracks:

Manon Lescaut: In quelle trine morbide (Atto II)
Manon Lescaut: Sola, perduta, abbandonata (Atto IV)
Madama Butterfly: Un bel di vedremo (Atto II)
Madama Butterfly: Con onor muore (Atto II)
La Boheme: Si. Mi chiamano Mimi (Atto I)
La Boheme: Donde lieta usci (Atto III)
Suor Angelica: Senza mamma
Gianni Schicchi: O mio babbino caro
Turandot: Signore, ascolta (Atto I)
Turandot: In questa reggia (Atto I)
Turandot: Tu che di gel sei cinta (Atto III)

Tracks:

La Cenerentola: Nacqui all'affanno...Non pita (Atto II)
Guglielmo Tell: S'allontanano alfine...Selva opaca (Atto II)
Semiramide: Bel raggio lusinghier (Atto I)
La Figlia del Reggimento: Convien partier (Atto I)
Lucrezia Borgia: Tranquillo ei posa...Com'ello (Atto I)
L'Elisir d'Amore: Prendi, prendi; per me sei libero (Atto II)

Tracks:

Scena & Aria: Ah! perfido, Op. 65
Oberon: Ocean! thou mighty monster
Le nozze di Figaro: Porgi, amor
Don Giovanni: Or sai chi l'onore (Atto I)
Don Giovanni: Crudele?... Non mi dir (Atto II)
Don Giovanni: In quali eccessi, o Numi!...Mi tradi quell'alma ingrata (Atto II)

Tracks:

Orphee et Eurydice: J'ai perdu mon Eurydice (Acte IV)
Alceste: Divinites du Styx (Acte I)
Carmen: L'amour est un oiseau rebelle (Habanera) (Acte I)
Carmen: Pres des remparts de Seville (Seguedille) (Acte I)
Samson et Dalila: Printemps qui commence (Acte I)
Samson et Dalila: Samson, recherchant ma presence ... Amour! viens aider ma faiblesse! (Acte II)
Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte II)
Romeo et Juliette: Ah! Je veux vivre dans ce reve (Acte I)
Mignon: Ah, pour ce soir ... Je suis Titania (Polonaise) (Acte I)
Le Cid: De cet affreux combat ... Pleurez, mes yeux! (Acte III)
Louise: Depuis le jour (Acte III)

Tracks:

Iphige en Tauride: O malheureuse Iphige (Acte II)
La Damnation de Faust: D'amour l'ardente flamme (4e Partie)
Les peurs de perles: Me voilule ... Comme autrefois (Acte II)
Manon: Je ne suis que faiblesse ... Adieu, notre petite table (Acte II)
Manon: Suis-je gentille ainsi? ... Je marche sur tous les chemins (Acte III)
Werther: Werther! Qui m'aurait dit ... Des cris joyeux (Air des lettres) (Acte III)
Faust: Je voudrais bien savoir ... Il it un Roi de Thul.. Dieu! que de bijoux ... Ah! Je ris (Air des bijoux) (Acte III)

Customer Reviews:

Wretched marketing excess!.......2005-06-28

I am driven to give such a low rating to this collection of the work of one of the greatest artists ever to be recorded because it is a massive distortion of her legacy.

The greatness of Maria Callas did not arise from her skills as a mere songbird or as a concert singer. Callas was a singing actress with a phenomenal ability to create living, breathing characters on the opera stage. She succeeded in this to a degree largely unmatched by her contemporaries, not at all by her successors, and seldom (if ever) by her predecessors. Many, perhaps most of her truly telling moments did not occur in arias that could be lifted out of context and placed on the disks of this set.

Consider her famous studio recording of "Tosca" with diStefano and Gobbi. I assert that there is as much art and genius in her entrance lines, "Mario. Mario! Mario!!" as there is in her brilliantly sung "Vissi d'arte." (Speaking of that, just where are her Tosca and her Norma among these eleven disks and 78 tracks? Such omissions are major distortions in themselves.)

There is no shortage of fine Callas recital material on the market for those casually interested in Maria Callas as a singer. For those who would experience Maria Callas as an artist, her complete operatic performances must be savored.

One earlier Amazon reviewer asked "Can a Callas fan actually live without this?" With all respect to that person's opinion, which I take to be honest and heartfelt, my answer to that question is "Yes, easily." In the same way, to the reviewer who described the set as "Indispensable," I am forced to respond, "Not hardly!"

Long Day's Journey. . ........2005-06-18

This is a must have for the serious Callas fan, and perhaps will only
be completely understood by one who knows the long journey of
this artist. From the "fat" Callas with voice to spare to the soignee
diva with only a shred of sound left, her musical and interpretive
intent is always clear, always penetrating, always atonishing.

Compare these studio recordings to the re-issued live concert recordings on EMI to get a more complete picture of Callas. For the new listener, some of the later recordings on the recital set will be
troubling, for many times you have to listen "past" the voice itself.

For those of us who already owned these recordings in some form, it
is nice to have them new and clean.

Can A Callas Fan actually live without this?.......2004-11-08

This collection is the best because it does not only allow you to have to whole set in a cheaper price but it lets you feel Callas in her intimate moment without other singers. That way we get to feel her voice alone. What is great about the la Divina is that her voice does not only sound good but it acts by itself. You don't have to see her to feel the character is singing. Some recordings are not in her "prime" but who cares. No soprano in living memory can surpass her acting and emotional voice. Other sopranos may sound like an angel but you would have to look at the libretto to understand and create the emotion. For someone like me whose native tough is not Italian, or French emotion to the song is more important. I can boldly say that some arias here are better performed that her complete opera series just like In Questa Reggia in Turandot and the Madam Butterfly arias. So if you have the buck don't hesitate buy this complete collection. This is a Maria Callas collection that is indispensable.

Indispensable.......2000-08-09

This 11-CD set is titled "Recitals 1954-1969." The title can be misleading although it's not intentional. These CD's are not "live" recordings of actual recitals Callas gave in 1954-1969; instead, these are official studio recordings of opera arias she made for EMI during this period.

This beautiful set includes all 11 of the aria albums of the new EMI Callas Edition (except "Live in Concert" and "The EMI Rarities"):

CD 1: Maria Callas at La Scala; CD 2: Lyric & Coloratura Arias; CD 3: Mad Scenes; CD 4: Verdi Arias Vol. I; CD 5: Verdi Arias Vol. II; CD 6: Verdi Arias, Vol. III; CD 7: Puccini Arias; CD 8: Rossini & Donizetti Arias; CD 9: Mozart, Beethoven & Weber; CD 10: Callas in Paris, Vol. I; CD 11: Callas in Paris, Vol. II

The CD's in this set are all individually packaged (each CD has its own case and booklet) just as what you'll get when you buy them separately. The advantage of buying this set, therefore, is its reduced price and the slipcase that holds these 11 single CD's. This is a convenient way to collect all of Callas's official solo albums.

A lot of these performances are legendary and absolutely essential, and no serious Callas collector will regret buying this set.

Music:

Music

Music