Pray for Me [Live]

Track Listings

1. Can't Nobody Do Me Like Jesus

2. Showing Each Other Love

3. Nobody Can Turn Me Around

4. You Think You're Doing It on Your Own

5. What a Friend We Have in Jesus

6. Somewhere Around the Throne

7. Heavy Load

8. Pray for Me

9. I've Got One Thing You Can't Take Away

Tracks:

Sanctus
Ave Maria, Op.52/6
Panis Angelicus
O Divine Redeemer
The Holy City
Amazon Grace
Greensleeves (What Child Is This)
Let Us Break Bread Together
I Wonder As I Wander
Sweet Little Jesus Boy
Gesu Bambino (When Blossoms Flowered)

Tracks:

I Couldn't Hear Nobody Pray
My Lord, What A Morning
Do Lawd, Oh Do Lawd
There's A Man Going Round - Jessye Norman
Ev'ry Time I Feel De Spirit - Dalton Baldwin
There Is A Balm In Gilead - Dalton Baldwin
Gospel Train - Dalton Baldwin
Great Day - Dalton Baldwin
Mary Had A Baby
Live A-Humble
Walk Together Children
Were You There - Jessye Norman
Hush! Somebody's Callin' My Name
Soon Ah Will Be Done
Give Me Jesus

Mosaic: A Collection of African-American Spirituals With Piano and Guitar

Average customer rating:

Beauty, power, and clarity
Not traditional American Negro spirituals mostly.
Great opera, not spiritual style I thought title suggested.
A Glorious Burgeoning Diva!
Classical music with heart and soul

Mosaic: A Collection of African-American Spirituals With Piano and Guitar

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

General | Blues | Styles | Music

Electric Blues Guitar | Blues | Styles | Music

Modern Blues | Blues | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs
Italian Songs for Tenor and Piano
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski

ASIN: B0006A9FUU
Release Date: 2004-11-30

Tracks:

Ev'ry Time I Feel the Spirit
Roun'about de Mountain
Lord, I Just Can't Keep from Cryin'
My Soul's Been Anchored
City Called Heaven
Give Me Jesus
O Glory
Come Down Angels
He Never Said a Mumblin' Word
Watch and Pray
Walk Together Children
Deep River
This Little Light of Mine
Lord, How Come Me Here?
He's Got the Whole World in His Hands
Ride Up in the Chariot

Customer Reviews:

Beauty, power, and clarity.......2007-05-06

Buy this CD for her rendition of "He Never Said a Mumbalin' Word" alone --- truly lovely, simply brilliant.

Not traditional American Negro spirituals mostly........2005-10-24

If you are looking for the soulfull melodic or jubilation of traditional American Negro spirituals, this is not it. But it is masterful musicianship.

Great opera, not spiritual style I thought title suggested........2005-09-08

This is a very good classical collection. The rating would have been higher if the description had suggested the actual style of the music. I am giving it 3 stars because this is a very good OPERA style collection - not the spiritual style I was hoping for. Given the title and simple instruments, I thought it would be different - more relaxed. I wish a sample of the music had been available. If you want spirituals sung in an OPERA style you will love this. She is an amazing talent.

A Glorious Burgeoning Diva!.......2005-05-07

Though this particular selection of songs may not be one the recital lover would choose, MOSAIC introduces to the recording audience the magnificent voice of Angela M. Brown, a gifted singer whose career has been nurtured by appearances with small opera companies until her highly successful Metropolitan Opera debut in 'Aida' last year. Now this intelligent singer is currently replacing the indomitable Jessye Norman in a Detroit Opera premiere and even in that vulnerable position of comparison she is making a triumphant statement.

MOSAIC is pleasant enough recital of African American Spirituals with sensitive piano and guitar accompaniment. But it is in the few unaccompanied songs that the splendor of this very large voice with a seemingly bottomless register is best displayed. Brown has a glowing top as well as a lush bottom in her register and her attention to the control of the cascade of sound is simply thrilling. Brown knows this repertoire well and is convincing in her delivery of not only the message but the depth of emotion of each song.

Hopefully a recording of songs and arias will follow soon, especially as her opera reputation grows. But for now, MOSAIC is a fine introduction to a voice whose destiny seems assured. Grady Harp, May 05

Classical music with heart and soul.......2005-03-01

Daniel Alexander Payne, sixth bishop of the African Methodist Episcopal Church worked tirelessly to purge emotionalism from African American modes of worship, and derided spirituals as "corn field ditties." Starting with the Fisk Jubilee Singers and into current century, composers such as Florence Price, Margaret Bonds, Moses Hogan and Joseph Joubert have sought new, classical interpretations of these timeless, soulful songs.

I must confess, I've never been a big fan of classicised spirituals. Spirituals ARE emotional, expressions of unbearable pain, of longing, of optimism and ultimate belief in salvation. To strip them of that by prettying them up is to deny their very reason for being.

But having said all that: I absolutely loved MOSAIC! Angela Brown does not let her classical training get in the way of putting a song over with heart and soul. She obviously loves these songs, and her rich voice moved me to tears on several occasions. The instrumental accompaniments (Joseph Joubert on piano, Tyron Cooper on guitar) are gorgeously subtle and supportive.

The sound quality of this disc is superb, a fitting tribute to the many African American composers represented here. Highly recommended!

Average customer rating:

Rebirth of Mothra

Manufacturer: Adv Films
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Anime & Video Game Soundtracks | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music
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Rebirth of Mothra 2
Rebirth of Mothra 3
Godzilla x Mothra x MechaGodzilla: Tokyo SOS
Rebirth of Mothra 1&2
Mothra vs. Godzilla

ASIN: B0000DFZYU
Release Date: 2003-10-28

Tracks:

Main Title
Super High Speed Battle
Beginning of the Great Journey
Guardian Goddess of the Beautiful Star
Mothra Song
Battle of Sixty-Five Million Years Ago, Revised
Evil Beast of Destruction
Pray With Me
Song of Prayer
Will of the Larvae
Battle With the Enemy of Life
Get Back to the Ocean
Song of Prayer [Instrumental]
Mothraleo
Emergence of a Saint
Birth of the New Mothra
Fight! In Order to Protect
Sealed Away
Instant of Life
Forever Friends
End Title

Average customer rating:

The best in the series!

The English Anthem, Vol. 8

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Classical | Imports | Stores | Music
Similar Items:

The English Anthem, Vol. 5
The English Anthem, Vol. 6
The English Anthem, Vol. 2
The English Anthem, Vol. 4
The English Anthem, Vol. 7

ASIN: B0006OR170
Release Date: 2005-02-08

Customer Reviews:

The best in the series!.......2007-05-23

Recorded shortly before Mr. Scott took up his new (and equally prestigious) post at St Thomas Church, Fifth Ave., NYC, this disc is, in my opinion, the best in the whole English Anthem series. The program is remarkably varied, and includes a stunning rendition of Sheppard's "Libera Nos I". It is so stunning that I can't help wishing that more Renaissance music had been included in this series. The choir of St Paul's sings it so well! Also recorded on this disc is a brand new commission from Rutter, "A Crown of Glory", which is brilliantly spectacular. Mr. Scott is also featured as a composer here, and his truly beautiful "Behold, O God our Defender", which is very "Howells-esque". The Bairstow anthem, "Lord, I call upon thee", is highly atmospheric. HIGHLY atmospheric. At the words "as the incense in Thy sight", one almost smells the incense!

The singing on this CD is what makes it so uniquely magnificent. I have never heard the choir of St Paul's sound in such good voice. Their expression, tone, and accuracy has never been better. They have once again reaffirmed that they indeed are the "King of Cathedral Choirs".

This recording virtually defines the term "must-have"!

Average customer rating:

Fine reissue of a classic set

Purcell: Theatre Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Cantatas for Solo Countertenor
Purcell: The Fairy Queen
Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll
Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs
Lute Music, Vol. 2

ASIN: B0001Y4JHA
Release Date: 2004-10-12

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

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Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Rhinegold

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

Tracks:

All The Things You Are
Spring Is Here
Love Is Here To Stay
In The Still Of The Night
With A Song In My Heart
Ave Maria
Amazing Grace
Greensleeves (What Child Is This)
The Holy City
Panis Angelicus
Messe solennelle de Ste. Cecile: Sanctus
There Is A Man Going Round
Give Me Jesus
Couldn't Hear Nobody Pray
Do Lawd, Oh Do Lawd
Gospel Train
He's Got The Whole World In His Hands

Tracks:

'Le nozze di Figaro': Porgi, amor
'Le nozze di Figaro': Dove sono i bei momenti
Zueignung, Op.10 No.1
'Ariadne Auf Naxos': Es gibt ein reich
Fruhling
Schlechtes Wetter, Op.69 No.5
'Dido and Aeneas': Dido's Lament: When I'm laid In Earth
'Les Nuits D'Ete': Le Spectre De La Rose
Gretchen am spinnrade
L'invitation au voyage
Je te veux
Les chemins de L'amour
'Tristan und Isolde': Tristan und Isolde: Isoldes Liebestod

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Enchanting folk songs (taken a few at a time)
A Must For All Britten Admirers

Britten: Folk Song Arrangements
Felicity Lott , Philip Langridge , Christopher van Kampen , Benjamin Britten , Carlos Bonell , and Graham Johnson
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Britten: Folk Song Arrangements, Vol. 2
Gerald Finzi: I Said to Love; Let Us Garlands Bring; Before and After Summer
Britten: Songs
Bryn Terfel - The Vagabond & other songs by Vaughan Williams, Butterworth, Finzi & Ireland
English Song Series 3

ASIN: B0007ORDUE
Release Date: 2005-03-22

Tracks:

The Salley Gardens
Little Sir William
The Bonny Earl O' Moray
O Can Y Sew Cushions?
The Trees They Grow So High
The Ash Grove
Oliver Cromwell
Greensleeves - Philip Langridge
I Wonder As I Wander - Philip Langridge
The Crocodile - Philip Langridge
The Plough Boy
There's One To Soothe
Sweet Polly Oliver
The Miller Of Dee
The Foggy, Foggy Dew
O Waly, Waly
Come You Not From Newcastle?
Pray Goody - Philip Langridge
The Brisk Young Widow
Sally In Our Alley
The Lincolnshire Poacher
Early One Morning
Ca' The Yowes
The Holly And The Ivy
Soldier, Won't You Marry Me?
The Deaf Woman's Courtship

Tracks:

Avengin And Bright
Sail On, Sail On
How Sweet The Answer
The Minstrel Boy
At The Mid Hour Of Night
Rich And Rare
Dear Harp Of My Country!
Oft In The Stilly Night
The Last Rose Of Summer
O The Sight Entrancing
La Noel Passee
Voici Le Printemps
Fileuse
Le Roi S'en Va-T'en Chasse
La Belle Est Au Jardin D'amour
Il Est Quelqu'un Sur Terre
Eho! Eho!
Quand J'etais Chez Mon Pere
I Will Give My Love An Apple - Carlos Bonell
Sailor-Boy - Carlos Bonell
Master Kilby - Carlos Bonell
The Soldier And The Sailor - Carlos Bonell
Bonny At Morn - Carlos Bonell
The Shooting Of His Dear - Carlos Bonell
German Folk Song: The Stream In The Valley - Christopher van Kampen
Unidentified Folk Song Setting - Christopher van Kampen

Customer Reviews:

Enchanting folk songs (taken a few at a time).......2006-06-24

Britten made numerous folksong arrangements over the years--the reviewer below summarizes them very well. Here are 52 for tenor voice accompanied by paino, harp, or guitar--there's also a Vol. 2 in addition to this double CD. Only a few items, like The Minstrel Boy and Greensleeves, are likely to sound familiar to American listeners unless they already know Britten's arrangements. He adds subversive harmonies that can be dissonant and distrubing; at other times the arrangements are a bit twee. Philip Langridge has a more mellifluous tone than Peter Pears, for whom almost all the songs were set. This makes the recital easy listening, but the simple tunes quickly become too much of a good thing--it's better to listen to a handful at a time.

Persoally, I like the Irish and Scottish folksongs the best, because of their haunting modal harmonies, and the harpist Ossian Ellis is a marvelous accompanist for several of them, but there's lots to choose form here. The chief drawbacks are two: Langridge was a bit too old by 1995 to keep an unpleasant wobble out of his tone at loud volume, not to mention that he is peculiarly humorless in the comic songs. Second, Graham Johnson is an unimginative accompanist without rhythmic vigor, which compares unfavorably to Britten's own classic recordings, in both mono and stereo, with Pears. Yet for all that, there are many lovely songs here, and they are now available, transferred from the Collins Classics label to Naxos at bargain price.

A Must For All Britten Admirers.......2005-04-09

Many lovers of Benjamin Britten's music have no idea that he made extraordinary arrangements of many folksongs. And although this 2CD set is part of Naxos's 'English Song Series' and although it mainly contains songs from the Britain (and Ireland), Britten also set French and American folksongs and they are included here as this issue comprises all his voice-and-piano folksong settings. (He also made voice-and-orchestra versions of some of the songs here but they are not included.) His interest in poetry was intense, and as a friend has commented, 'Britten's knowledge of the obscure corners of English poetry would have put many a professor of English to shame.' His interest in making these settings lasted his entire composing life. Over the years he made six numbered collections: Vols 1, 3, 5 & 6 are primarily British (and some American) folksongs; Vol. 2 French; Vol. 4 Moore's Irish Songs. Also included here are several scattered single songs and songs published posthumously for a total of 52 songs in all. They are parceled out between two of the greatest English singers of the day: soprano Dame Felicity Lott and tenor Philip Langridge. They are mostly accompanied by the best English accompanist since Gerald Moore, pianist Graham Johnson. (One group are accompanied by guitarist Carlos Bonell, and a couple feature cellist Christopher van Kampen.)

The piano accompaniments are generally rather spare, tending not to call attention to themselves, but on closer listening one realizes that Britten has used his own easily identifiable harmonic and structural sense (not surprisingly, one of Britten's favorite devices, the canon, occurs repeatedly), always in pursuit of bringing out the literal meaning and, even more so, the psychology of the song at hand. For instance, he mimics the harp in 'Dear Harp of our Country' and 'The Last Rose of Summer' and the spinning of the mill-wheel in 'The Miller of Dee' or of the spinning wheel in 'Fileuse.' There is the yearning upward interval used to accompany the girl's name in 'Sally in Our Alley.' There is the sad tolling of the bell in 'At the mid hour of the night,' the indecisive alternating chords in 'O Waly, Waly.' Many of these songs are familiar, but many are obscure, at least to this writer. Each is so aptly set that one discovers new things on each listening. Some old favorites, like 'Sail On, Sail On' and 'The Ash Grove' are given fresh colorings. I was amused to realize that that silly Monty Python send-up, 'The Lumberjack Song,' uses (approximately) the tune of 'The Foggy, Foggy Dew' (set here to a melody different than the one I know from my youth).

The performances, not surprisingly, are about as good as they get. I cannot forget the sound of Janet Baker's voice in 'O Waly, Waly,' but this is no criticism of Lott's version, which is also touchingly effective. Langridge, whose diction is a marvel, is similarly effective in such favorites as 'The Plough Boy,' 'The Foggy, Foggy Dew,' and 'The Minstrel Boy.' Is there a more sensitive accompanist than Graham Johnson? I don't think so. I will admit that am not fond of the guitar (clearly my own idiosyncratic taste) but Carlos Bonell is effective in his accompaniment of Vol. 6, which includes 'I will give my love an apple' and 'Bonny at Morn' among others. At the end of CD2 is a song with cello obbligato played by Christopher van Kampen, and an unknown folksong that, in the absence of text, is given to the cello. The texts, too, are worth studying for their folk-wisdom. I was particularly struck by this line from 'Pray Goody': "Remember when the judgement's weak, the prejudice is strong." ('Pray Goody' also has an especially effective piano accompaniment that requires virtuosic control by the pianist.)

Anyone interested in the music of Britten really ought to own this set. It is an aspect of his art that should not be missed.

2CDs TT=132:47

Scott Morrison

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Pray for Me/Let's Go to Church Together
The Swan Silvertones
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music

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1946-1951

ASIN: B000056K4I
Release Date: 2001-01-30

Tracks:

Sinner's Crossroad
Why I Love Him So
Jesus Is Alright With Me (AKA Jesus, He's Alright With Me)
The Lord Is Coming
Somebody Loves Me
Press Thy Hand
Come What May
Nobody But You
The Blood Of Jesus
Livin' On Mother's Prayers
Breathe On Me
Love Lifted Me
Call Him Jesus
Leave Your Burdens There
Cross For Me
I'll Be Satisfied
Send My Child
Look Down The Line
I Thank You Lord
Come To Jesus
Without A Mother
Search Me Lord
Bible Days

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Religious music from the 19th century
A wonderful listening treat

I Am Filled With Heavenly Treasures

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

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Classical | Indie Music | Stores | Music
ASIN: B0002NY90W
Release Date: 2004-08-31

Tracks:

Today, today is my own time
The Coming Day
Rose of Sharon
In this pleasant place I will go
The Earth Is Renewed
I've a spiritual garden to weed
Lord give me of Thy living bread
Redeeming Love
Good Brethren will you receive my love
Round Dance
Compassion
Toil On, Pray On
As Stars and Diamonds
Receive a Father's love
Pearl of Great Price
In love and peace we will increase
Simple Gift
With the lamb on Mt. Zion
The Charms of My Mother
"Great I" Medley: Dismission of Great I
Love Is Little
Harmony of Angels
I Am Filled With Heavenly Treasures
Mother's Chair
Let us grow up strength in Zion
My Mother's way's the way for me
Let us sow to the spirit of love
May I see as I am seen
Wake Up
I love to sing and worship God
Move on with the gift
How pretty 'tis to see
Good Elder, dear Brethren and Sisters, I love you
Grateful Remembrance
Learned of Angel
God Is Infinitely Able
God's Blessing
Farewell, farewell our dear gospel friends
Prayer for the Nations

Album Description

Shaker music is a unique body of American sacred folk music, created by eighteen American Shaker communities over a period of one hundred and forty years (1780-1920). This rich tradition of song continues to serve the Shaker community in the twenty-first century because it embodies their history, records the testimony of Shakers "who have gone before," articulates the religious principles on which Shakerism is founded, and reflects the faith of the contemporary community. Shaker music was created and nurtured in communities that prized isolation from worldly ways. Shaker melodies, although related to the larger tradition of Anglo-American folk songs, are not bound by their form, tonality, melodic or rhythmic structure.

The Enfield Shaker singers are a vocal ensemble of adults and children devoted to the study and performance of Shaker music. The group is open to all without audition, and is made up of both trained musicians and amateur singers. We draw heavily on the repertoire received or composed in the two societies that were the New Hampshire Bishopric—Canterbury and Enfield. Since the New Hampshire societies enriched their repertoire with songs from all the other Shaker communities, they also sing songs of the New York, Maine, Massachusetts, Ohio and Kentucky Shakers.

The Enfield Shaker Singers are drawn to Shaker spirituals that illuminate Shaker communal values and broaden our definitions of the sacred. The songs included on this recording illustrate some of the many ways music served Shaker communities. Most Shaker song texts are theologically direct, emotionally honest, and expressive of our shared humanity.

On this recording we offer thirty-nine songs we have come to love. Some have special meaning for individuals. We associate others with a particular singer in the group, or an occasion when it was sung. Each song offers us slightly different insights into Shaker aspiration, and Shaker faith. We hope that, through this recording, others will also come to love and sing them too. —Mary Ann Haagen, from the liner notes

Customer Reviews:

Religious music from the 19th century.......2007-07-07

If one likes the songs of the Shakers written in the late 18th and early 19 century that were without musical instruments, then you may like this CD. I found 8 songs out of the 30 or more on the CD that I liked, the others I did not care for much. This is no fault of the creators of the Cd, it is simply the style of the Shakers of the past.

A wonderful listening treat.......2005-01-11

This CD is a delight! The simple melodies, surprising harmonies, and clarity of the voices makes you want to sing along. Listening makes one smile, regardless of one's religious persuasion. Thank you for giving us these songs and preserving the tradition of this music.

Music Review:

Music Review

Music Review

1. Can't Nobody Do Me Like Jesus
2. Showing Each Other Love
3. Nobody Can Turn Me Around
4. You Think You're Doing It on Your Own
5. What a Friend We Have in Jesus
6. Somewhere Around the Throne
7. Heavy Load
8. Pray for Me
9. I've Got One Thing You Can't Take Away