Street-Legal [Live] [SACD]

street-legal [live] [sacd]

Track Listings

1. The Cruel Sea

2. Telstar

3. Black Sand Beach

4. Apache

5. Out Of Limits

6. Let's Go

7. Stranger In Midosuji-Reflections In A Palace Lake

8. Ginza Lights

9. Kyoto Doll-Paint It Black

10. Walk Don't Run

11. House Of The Rising Sun

12. Slaughter On 10th Ave

13. Hawaii Five-O

14. Wipe Out

15. Diamond Head-Pipeline

16. Caravan

Editorial Reviews
Product Description
1999 release from popular rock instrumental combo probably best known for 'Walk Don't Run' & 'Hawaii Five O'. 17 tracks.Standard jewel case.

Street-Legal,Bob Dylan,Pony Canyon,Rock/Pop

Street-Legal [Live] [SACD]

Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD]

Average customer rating:

Worth every Penny !
Over all very good, in places great
smoothed out edges
Solid live performances, great sound, but a little identity crisis?
This latest Beethoven Symphonies cycle is not that great

Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD]

Manufacturer: Lso Live UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B000GUJYRE
Release Date: 2006-09-12

Tracks:

Allegro Con Brio
Marcia Funebre: Adagio Assi
Scherzo And Trio: Allegro Vivace
Finale: Allegro Molto
Leonore Overture No.2

Tracks:

Adagio-Allegro Vivace
Adagio
Allegro Vivace
Allegro Ma Non Troppo
Allegro Vivace E Con Brio
Allegretto Scherzando
Tempo Di Menuetto
Allegro Vivace

Tracks:

Allegro Con Brio
Andante Con Moto
Allegro
Allegro
Adagio Molto-Allegro Con Brio
Anadante Cantabile Con Moto
Menuetto & Trio: Allegro Molto E Vivace
Adagio-Allegro Molto E Vivace

Tracks:

Erwachen Heiterer Gefuhle Bei Der Ankunft Auf Dem Lande (Allegro Ma Non Troppo)
Szene Am Bach (Andante Molto Mosso)
Lustiges Zusammensein Der Landleute (Allegro)
Gewitter, Sturm (Allegro)
Hirtengesang-Frohe, Dankbare Gefuhle Nach Sem Sturm (Allegretto)
Adagio Molto-Allegro Con Brio
Larghetto
Scherzo & Trio: Allegro
Allegro Molto - Tim Hugh

Tracks:

Poco Sostenuto-Vivace
Allegretto
Presto
Allegro Con Brio
Allegro - Tim Hugh
Largo - Tim Hugh
Rondo Alla Polacca - Tim Hugh

Tracks:

Allegro Ma Non Troppo, Un Poco Maestoso - London Symphony Chorus
Scherzo: Molto Vivace - London Symphony Chorus
Adagio Molto E Cantabile - London Symphony Chorus
Presto-Allegro Ma Non Troppo-Vivace-Adagio Cantabile - London Symphony Chorus

Amazon.com

Haitink's integral set of Beethoven Symphonies with the London Symphony has none of the stodginess that sometimes afflicted his earlier recordings with the Concertgebouw. His restudy of the works, and the presence of concert audiences translate into faster tempos, sharper accents, wider dynamic range and an overall sense of energy that imbue these nine masterpieces. Here, the Classic style is wed to Romantic expressivity but not to Romantic excess, Competition is abundant, ranging from Toscanini, Furtwängler, and the 1963 von Karajan to recent sets from the sometimes hyperkinetic Vanska, the more traditional Abbado, and the insightful Barenboim. But this new Haitink set, available in hybrid SACD/CD, is a solid contender.

The early First and Second symphonies benefit from Haitink's leaner, more vivacious approach. The Eroica also sounds fresher. Its slow movement is still a funeral march, but moves a hair faster this time, just enough to be the difference between a pace that drags and a pace that flows and retains interest. In the outer movements, there's a new spring to the rhythms and clarity in orchestral balances, and this Eroica has the cumulative intensity to make its full effect. Haitink's Fourth is in a grander mold than we usually hear. While never overblown, it has some of the wider scope and heroism of the odd-numbered symphonies. Like the Eroica, it is rhythmically vigorous and the prominent tympani and brass make an impact that sweeps the listener along. The Fifth can suffer from over-exposure but here it has a variety of tonal colors, tempos, and dynamics that make it seem newly minted while no less grand. The propulsive finale, with its pounding tympani and expertly played journey to transcendence, is especially memorable.

The Sixth, the Pastorale, has that same feeling, its flowing tempos and skillful interpretive choices make this one of the best Sixths since Böhm's, with plenty of excitement in the Storm and warmth in the final movement. The Seventh gets a buoyant reading, predominately lyrical without neglecting its powerful rhythms. The driven final movement is exhilarating without being hectic. The Eighth is often considered the slightest of the Nine but Haitink's brisk tempos make it dance and swagger; the lyrical sections played with engaging warmth. As for the Ninth, it is miles ahead of Haitink's earlier versions. The harmonic mist that opens the work is well delineated, the contrasts within movements carefully marked, the Scherzo bursting with energy, the incomparable Adagio sings at a more fluid tempo, the choral final movement as good as any in the catalogue, its structure crystal clear under Haitink's baton. The major filler in the set is the often scorned Triple Concerto, which gets a performance of warm lyricism that can only elevate its status.

The playing of the London Symphony is phenomenal, especially since these are live recordings. The violins' tone glows with radiance, their precise articulation helps make the rhythms energetic, the winds are uniformly excellent, the brass sleekly powerful, the potent percussion authoritative in climaxes. If a criticism can be made it would be that bass lines are sometimes weaker than desirable, perhaps a function of engineering that varies in clarity from disc to disc but is never less than good. In sum, a major addition to the Beethoven Symphony discography. --Dan Davis

Customer Reviews:

Worth every Penny !.......2007-06-25

I finally listened to every symphony after 2 weeks. I have to say, every performance sounded quite prestine. I especially enjoyed the 6th and the 9th.
I agree with one reviewer in that the first movement of the 5th seemed a tad fast. Honestly thats the only complaint I have of this collection. If you enjoy classical music and appreciate high fidelity music, this is a must have !

Over all very good, in places great.......2007-04-10

These recordings have outstanding sound quality, as other reviewers have said. None of them are less than worthwhile, and I think the rendition of the Eroica is sensational, the best I've heard. The 9th is also among the best. The 5th, though, is not in the same class. Another reviewer has commented on the tempo of the first movement, which I agree is too fast; unfortunately, so is much of the rest of the piece. (Bernstein's 1990 recording with the Vienna Philharmonic is much better.) Still, no one could fault the LSO's playing, or the sound. Worth the money for the Eroica and the 9th alone.

smoothed out edges.......2007-03-03

Unlike some other recordings of Beethoven's work, this compilation permeates the composer's will and presents a series of golden renditions. The assembly of London musicians is in top form (which is usual for them) and they seem motivated to convey all nuances throughout. For those who long to use these compositions for peace of mind, feel assured that that peace will indeed come.

Solid live performances, great sound, but a little identity crisis?.......2007-02-27

[This review refers to non-Hydrid SACD versions of these performances]

When I first listened through this cycle I was impressed and rated it 5-stars. I remain impressed, but something about these performances bothers me, a sort of unevenness that is overcome on first listen by the excitement. So I am re-reviewing with a 4-star rating.

I do not think, as some have suggested, that these are per se "historically informed performances" (what performance isn't historically informed, after all?). I would describe them as having (on balance) an updated traditional approach which benefits from generally well-balanced orchestral forces, brisk tempi, modest levels of conductor-induced drama and nuance, and remarkable sound quality that lets all the facets of the music shine through (the tympani occasionally jump out a bit too far for my tastes, as if they're perched on the conductor's podium). However, Haitink's cadences in these live recordings seems a little uneven to me, distracting ever so slightly from the natural momentum.

I found myself thinking that the the 1st, 2nd, 3rd and the 5th (at least in places) sound a bit like HIP performances, but the others (notably the 4th, which has a surprisingly big sound and broad, sweeping lines) sound like relatively brisk "big-band" treatments. Maybe that is simply Beethoven's music changing and not Haitink's interpretations, but I doubt it. I can't decide whether the legendary conductor is 1) pandering to HIP enthusiasts with a little extra speed here and there, 2) just can't decide how Beethoven in general ought to be played, or 3) is simply giving each symphony it's own identity (as he sees it). Those who love Haitink will presume the latter, and they might be right.

The Zinman cycle with Tonhalle Orchestra Zurich is currently my favorite -- I love the lean, wiry energy and brisk but controlled tempi Zinman delivers on modern instruments with a small orchestra -- and at this point I find myself judging everything against it. I am also very fond of the late Gunter Wand's forthright readings with the NDR. At present, despite my newfound reservations, this Haitink cycle would probably be my third choice, a step or two ahead of Harnoncourt/COE. I also think this cycle would work out well for anyone who finds merit in both HIP and traditional approaches and just can't decide. This is a big orchestra sound energetically delivered with small orchestra transparency.

If you don't need SACD, this collection can be purchased as a set from a leading download site for less than a single SACD disc. Getting sleepy?

This latest Beethoven Symphonies cycle is not that great .......2007-02-13

I already have 2 sets of Beethoven symphonies cycle, Karajan, released 12/6/2005, and Gardiner, released September 20, 1994, and many other individuals. Then I pruchased this set because of reviews in Amazon here and nomination of Grammy 2007. After listening to some of them(No,3,5,9), I would say they are not that fantastic. The No.5 sounds strange in paticular comparing others. It seemed played in different pace from others. Then the overall recording quality is rather poor. "SACD" in here is somewhat misleading. The live recording is more challanging than in studio. But SFS still could achieve well balanced and refined recording in live. Its Mahler NO.7 won Grammy classical award this year. However, I dont know it was recorded in live or studio.

I like Beethoven No.9 very much, not this one though. Try Osmo Vanska, released 10/24/2006. Its excellent performance and SACD recording even surpasses the Karajan.

Average customer rating:

The Ultimate Who CD
The original recording was good but this is astounding !!!!

Live at the Royal Albert Hall
The Who
Manufacturer: Steamhammer Us [Spv]
ProductGroup: Music
Binding: Audio CD

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Escape

ASIN: B00009NJ8N
Release Date: 2004-01-06

Tracks:

I Can't Explain
Anyway, Anyhow, Anywhere
Pinball Wizard
Relay
My Wife
The Kids Are Alright
Mary Anne With The Shaky Hand
Bargain
Magic Bus
Who Are You
Baba O'Riley

Tracks:

Drowned
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So Sad About Us
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Behind Blue Eyes
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5'15
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Tracks:

Substitute
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My Generation
See Me, Feel Me/Listening To You
I'm Free
I Don't Even Know Myself
Summertime Blues
Young Man Blues

Customer Reviews:

The Ultimate Who CD.......2004-03-24

For anyone who appriciates good quality music - this album is ideal. For Who fans it's perfect. Ive heard critisms that without Moon, the who have lost it - absolute nonsence if you ask me. Zak Starkey who has been drumming for the who sice '94 is bloody amazing! The ONLY person worthy of moon's stool! Townsend, although old now, is still fantastic, strumming riffs and really pelting his guitar. Daltry has been on better form but he can still pull it off. As for Entwistle, only one word - Amazing ( his solo in 5:15 prooves this. The show as a whole is excellent with an overal performance that seriously rocks. It just highlights that after so long together, The Who are still the best band ever! Both the DVD and CD are worth buying.
The ultimate of all CD's/DVD's.

The original recording was good but this is astounding !!!!.......2004-02-21

Having purchased the original Steamhammer recording when it was first released, I didn't think that anything could top the quality of the original disc, live recordings being what they can be. Often times the sound is muddy or unbalanced or the crowd noise is beefed way too high in the mix. Well, believe me when I tell you that the SACD Hybrid Multi-Channel version completely blows it away. Everything is pristeenly clean and clear with no break ups at any level that I played it at! Pete's guitar (power chords and all) were clear and (unwanted) distortion-free. John's bass was thunderous yet very clear and solid and Zak's drums and cymbals were perfect yet none of the aforementioned instuments got in the way of Roger's vocals. Personally, I wish more cd's were available in this format as it buries the sound quality of a standard cd. If only the prices of SACD discs were more reasonable. Aside from that shortcoming, I recommend this disc wholeheartedly.

Shostakovich: Symphony No. 7 [Hybrid SACD]

Average customer rating:

An outstanding 'Leningrad' Sym. from Jansons in concert

Shostakovich: Symphony No. 7 [Hybrid SACD]

Manufacturer: Rco Live Holland
ProductGroup: Music
Binding: Audio CD

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Saint-Saëns: Symphony No. 3; Poulenc: Organ Concerto; Barber: Toccata Festiva

ASIN: B000G2Y652
Release Date: 2006-08-08

Tracks:

Allegretto
Moderato (Poco Allegretto)
Adagio
Allegro Non Troppo

Customer Reviews:

An outstanding 'Leningrad' Sym. from Jansons in concert.......2007-02-18

This live reading of the "Leningrad" Sym. #7 of Shostakovich from Mariss Jansons is much stronger than his earlier studio version on EMI, which ironically enough was with the Leningrad Phil. Here his own orchestra, the Royal Concertgebouw plays with great refinement and elegance, two qualities that might seem misplaced in a wartime symphony whose most famous feature is a long march about invading Nazis. But Jansons is out to erase memories of WW II in this music, substituting great care over detail and trying to find heartfelt expression in music often dismissed as second-drawer Shostakovich. For a sturm-und-drang reading one turns to various Russian accounts, along with Bernstein's two classics (one with the NY Phil. on Sony--my favorite--the other with the Chicago Sym. on DG) that take ful advantage of the symphony's blockbuster status. Jansons finds another way, and although I'm not fully persuaded that the Seventh isn't a bit junky and hollow, he makes as good a case for it as I've ever heard. This is by far his best Shostakovich recording after completing a less than thrilling complete symphony cycle for EMI.

Sibelius: Symphony No. 2; Pohjola's Daughter [Hybrid SACD]

Average customer rating:

It may be the best Second that I have heard.

Sibelius: Symphony No. 2; Pohjola's Daughter [Hybrid SACD]

Manufacturer: Lso Live UK
ProductGroup: Music
Binding: Audio CD

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Brahms: Violin Concerto and Double Concerto [SA-CD - CD compatible]

ASIN: B000O78IX0
Release Date: 2007-05-08

Tracks:

Pohjola's Daughter
Allegretto
Tempo Andante, Ma Rubato
Vivacissimo
Finale: Allegro Moderato

Customer Reviews:

It may be the best Second that I have heard........2007-05-17

Together with the Violin Concerto, the Second is the most performed of large scale Sibelius works. There are over 100 recordings in existence; 7 of them available on SACD. Many conductors willing to venture into Sibelius have chosen the Second, for a reason. It is quintessential, a manifesto of Sibelius' style. Cold yet herart-wrenching, mysterious yet passionate, exquisitely crafted yet defying the canons of symphonic writing. The symphony has so many faces that there is no single performance that would give it full justice.

Colin Davis is one of the most dedicated Sibelius conductors. He has recorded two complete symphony cycles, one with Boston, the other with LSO. In addition, he has a recording of the Second with Staatskapelle Dresden. Currently, he is recording his third cycle, with LSO, as the previous one; 3,5,6 and 7 have already been released.

This Second was recorded in October 2006. It is remarkable. It is not like anything else. Sir Colin strived to achieve the impossible: to reveal in a single performance the seemingly irreconcilable aspects of this music. He largely succeeded. Entrancing, hypnotizing mystery is there from the beginning to the end. The passion and vigor are there too: although generally tempos are on the slower side, the expressiveness is achieved by firm line and calculated yet hair rising crescendos. The chilling despair of the second movement is utterly convincing. Needless to say it has all the requisites of Sibelius style: crystal clear detail, transparency, balance, synthetic sonorities. This performance is closest to the ideal of all I have ever heard (I have 90 different recordings of this work).

The engineering by Jonathan Stokes of Classical Sound is above praise. Although this is a live performance, there is no audience noise. The ambience in 5 channel playback is incredible. Enchantment, sonic bliss.

On a side note, it goes to show how recording scene is changing to the benefit of music lovers. LSO and other orchestras, Royal Philharmonic, London Philharmonic, or Concertgebouw, to name a few, issue their records on their own labels. Live recordings can be made as good as studio ones. Big labels with their tendency to create personality cults are no longer necessary. However, what's necessary is performances that are not like anything before. The ones with new insight and superior execution. The ones that customers will buy despite them having past recordings of the same work.

Beethoven: Symphony No. 9 'Choral' [Hybrid SACD]

Average customer rating:

Magnificient, Crowning Conclusion to Haitink's LSO Live Cycle in Hybrid SACD Format

Beethoven: Symphony No. 9 'Choral' [Hybrid SACD]

Manufacturer: Lso Live UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B000HDR7GK
Release Date: 2006-11-14

Customer Reviews:

Magnificient, Crowning Conclusion to Haitink's LSO Live Cycle in Hybrid SACD Format.......2007-02-13

Distinguished Dutch conductor Bernard Haitink's latest, truly relevatory, traversal of the Beethoven symphonies ends with this triumphant, enthralling interpretation of the 9th "Choral" Symphony in D minor. His magnificient interpretation is unquestionably one of the finest accounts of this symphony ever recorded, and definitely the best I have heard since Claudio Abbado's two distinguished recordings on Sony and Deutsche Grammophon with the Berliner Philharmoniker, using the same Jonathan Del Mar-edited Barenreiter Edition. Although strongly influenced by period instrument practice, Haitink strikes a fine balance between that and more traditional accounts of this symphony, without ignoring the swift tempi required of it from the relatively new Barenreiter Edition, and yet, yielding an awe inspiring, truly magisteral performance (Personally, I've fallen in love with Haitink's interpretation, finding it somewhat more engrossing than either of Abbado's.). Indeed, this latest recording of the Beethoven 9th Symphony may be the most dramatic, most exciting account that I've heard, and one that's worthy of all the critical and popular acclaim it has earned so far. Moreover, the sound quality is exemplary thanks to the superb job in recording this performance live during two concerts in late April 2006 by producer James Mallinson and his team of engineers on behalf of the LSO Live label.

Haitink's interpretation is a no-nonsense, technically brilliant, yet still most mesmerizing, account of this symphony. He opens with a vividly intense first movement (Allegro ma non troppo, un poco maestoso) dominated by exquisite playing from the winds and strings. His treatment of the second movement (Scherzo; molto vivace) is neither as ponderous as any I've heard from the likes of Giulini and Karajan, nor is it as swift as Zinman's or Abbado's, but instead, sounds just right, showcasing once more the exemplary playing from the London Symphony Orchestra's winds and strings. Haitink's interpretation of the third (Adagio molto e cantible) and fourth (Presto - Allego ma non troppo - Vivace - Adagio cantible) movements are the most electrifying accounts I have heard, replete with excellent performances too from both the soloists and the London Symphony Orchestra Chorus in the memorable "Ode to Joy" which encompasses virtually the entire fourth movement (I haven't heard of the soloists before, but their singing is comparable to the finest I have heard in Abbado's and Karajan's recordings.).

Average customer rating:

Live the Police
Very interesting and, for one disc at least, a great recording
Police - 'Live' (A&M) 4 1/2 stars
did't play
A truly great band

Live!
The Police
Manufacturer: Interscope Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000088NT0
Release Date: 2003-03-04

Tracks:

Next to You
So Lonely
Truth Hits Everybody
Walking on the Moon
Hole in My Life
Fall Out
Bring on the Night
Message in a Bottle
Bed's Too Big Without You
Peanuts
Roxanne
Can't Stand Losing You
Landlord
Born in the 50's
Be My Girl/Sally

Tracks:

Synchronicity I
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De Do Do Do, De Da Da Da
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Amazon.com

Consisting of one disc recorded from a Boston radio broadcast in 1979 and the other from a large concert hall in Atlanta in 1983, Live! demonstrates the evolution of the Police's sound while showing off their ability to perform onstage. Aside from the track listings (although several of the same tracks are found on both discs), there are notable differences between the two concerts. The production is the most obvious. The 1979 recording, sounding raw like a well-done bootleg, is mixed for a punk band, which the Police largely were at the time. The Atlanta recording is slick and professional, perfect for the world-famous pop stars they had become. The second major difference is the performances themselves. In the Boston concert, because they had less material to fill an entire show, the band extended the songs by improvising on themes and progressions (while at the same time frequently lead-footing the tempos). In contrast, the Atlanta show featured a denser mix. Three backup singers doubled the number of people onstage, while the songs were moody and atmospheric. Again the band expanded on its arrangements. You won't hear your favorite licks from many of these songs, but the fair exchange is getting to hear drummer Stewart Copeland's inspired improvised fills; Andy Summers's cautious, delicate guitar textures; and Sting's rasta chants. Aside from being a transcendent live album, this collection makes it very clear that the Police were so much more than just Sting and "two other guys." Quite the opposite is true. It testifies not only to the strength of the songwriting but, more important, to the band's musicianship. The Police were a perfect musical trinity, each member an indispensable and inseparable part of the whole. --Beth Massa

Customer Reviews:

Live the Police.......2007-03-26

This CD was received as described and is a very good deal for the price. Seller was prompt in shipment.

Very interesting and, for one disc at least, a great recording.......2007-03-14

It had been discussed for years, and in 1995 (apparently after the success of the rare live recordings found on the 4-disc boxset "Message in a Box: The Complete Recordings") a live album by The Police was released. The album, produced by Andy Summers, is a two-disc set - a very wise move, considering how vastly different the two CDs sound. Disc one is a 1979 performance in Boston that was broadcast over the radio; disc two is a 1983 performance in Atlanta during the "Synchronicity" tour.

It is the concensus of both the fans and the critics that the reason to purchase this set is for the first disc, recorded around the release of "Reggatta de Blanc". I completely disagree. To me, disc one, though more ferocious than disc two, sounds almost off-puttingly pretentious (albeit good-naturedly so). Sting seems to be trying almost too hard, and his ego is put on display more than a few times (in the opening of "Walking on the Moon", he announces, "This is from MY new record."). Stewart Copeland and Andy Summers' performances are quite lacking, and all in all the first disc comes across as being very dull, with the exception of a stellar version of "The Bed's Too Big Without You".

Disc two is my favorite, and definitely the highlight of the album. It was recorded during the peak of the band's popularity, and the material they had to work with was of much greater quality than that which they play on disc one (although many of the songs are repeated). Also, there's something exhilarating about hearing the huge crowd all-out roar during the performances. There are excellent performances of a number of songs, like the fast-paced, energetic opener, "Synchronicity I"; the dreamy bounce of "Tea in the Sahara"; the nasty-sounding and powerful "Don't Stand So Close to Me"; and high-voltage performances of "Can't Stand Losing You" and "So Lonely", both of which have some simply exemplary instrumental sections. "Can't Stand Losing You"'s is especially interesting. Prior to the release of "Reggatta de Blanc", the band would burst into a rolling chant during the middle of "Can't Stand Losing You" whenever it was performed live. That section was removed verbatim and recorded as the title track for "Reggatta de Blanc".

Disc two is the exact opposite of disc one. Sting is fine and well aware of the immense power he has over the audience, but his heart is definitely not in his singing, and at times his voice sounds hoarse from a little too much use. On the other hand, Summers and Copeland are just fantastic. Summers' playing is gorgeous and fluctuates between being fierce and being ethereal and moody; Copeland's is fast-paced, tough, and exotic. Still, as others have pointed out, the second disc has its flaws. Chief amongst those are the annoying and completely unnecessary backup singers, who I believe returned for Sting's first solo live recording, 1986's delightful "Bring on the Night". Here, however, they seem to be simply a product of Sting's laziness.

All in all, how much one enjoys "Live!" will depend on whether you're more a fan of the band's more fast-paced, punky material (their earlier work) or their more brilliant, ethereal and new wave stuff (their later work). I am more a fan of the latter, which is perhaps why I loved disc two, but doubt that disc one will ever get much play from myself. I would say that for the Police fan this set is definitely worth purchasing (and by all means, purchase the remastered version; the remastering job is utterly superb), but for anyone else I would highly recommend purchasing their studio albums first.

Police - 'Live' (A&M) 4 1/2 stars.......2006-06-17

Apparently,there must be simply SO many 'new' releases put out at any given time,one obviously cannot keep track of EVERY one.As a result,I've only recently become aware of this live Police archive 2-CD title.Sound quality here could be a bit better,but it'll do.Disc one is from a 1979 live radio broadcast direct from the Orpheum Theater in Boston.I remember hearing this on a special late night radio show,don't believe that I taped it,or other wise,I wouldn't be so thrilled to finally land a copy of this disc.Better tunes are "So Lonely",the well written "Walking On The Moon","Message In A Bottle",their very first smash hit "Roxanne","Can't Stand Losing You" and "Born In The 50's".Disc two comes from a major gig in Atlanta in 1983 off their 'Synchronicity' tour.Most memorable cuts here are the awesome "Synchronicity II","De Do Do Do,De Da Da Da","Wrapped Around Your Finger",Sting's signature song "King Of Pain","Don't Stand So Close To Me" and "Every Breath You Take".A must-have for most Police fans.I was fortunate enough to catch The Police on the second leg of their 'Synchronicity' tour,as I never thought it would be their last.I've spoken with a couple of HUGE old school Police fans and they tell me they want NOTHING to do with this 2-CD release,that they're simply tired of seeing Sting out on solo tours and they feel somewhat betrayed that The Police will likely never reunite.Have to wonder how many others feel the same way.

did't play.......2006-03-08

I tried it in a cd player dvd player computer came up blank
now i've givin up
this is the first time this has happend

A truly great band.......2006-02-10

I had the pleasure of seing the Police live four times, each time while they were touring a new album. The shows were incredible, mainly because Sting and the boys were born performers. They really thrived when in front of an audience, more so than when they were in the studio. Personally, I think they reached their peak when touring Zenyatta Mondatta. They had mastered their ska-rock style to perfection. Even though you knew "So Lonely" and "Can't Stand Losing You" were coming up, they were always fresh and different. These CDs give you early Police, touring the first two albums and pre-breakup Police touring their last album. I would be lying if I said they were equal CDs. The first CD is better, much more pure and honest. I am not going to blast the Police for selling out, even though they kind of did. However, the Atlanta concert was jammed full with bandwagon fans that owned exactly one Police album, Synchronicity. Sting tries to draw the loyal crowd responses that he was used to getting from core fans, but they were not there. The boys still put in a good show, but not as good as the Boston gig. To be honest, if you want to hear the greatest recorded Police concert, it was one done in Melbourne Australia in 1981 and recorded by an Aussie station. To this day it is one of the greatest concerts I have ever heard.

Average customer rating:

An elegant but literal reading of the Mahler First
fine, straight forward performance caputured in excellent sound

Mahler: Symphony No. 1 [Hybrid SACD]

Manufacturer: Rco Live Holland
ProductGroup: Music
Binding: Audio CD

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ASIN: B000P1KTDW
Release Date: 2007-06-12

Customer Reviews:

An elegant but literal reading of the Mahler First.......2007-06-24

I agree with everything said in the review below except for the final conclusion. To me, "straighforward" isn't a term of praise, particularly in Mahler. Jansons is quite poker-faced here, not giving an inch to fantasy or abandon. You'd never guess that the funeral music in the third movement is meant to be a parody. Janson's Mahler, like that of his predecessor at the Concertgebouw, Riccardo Chailly, emphasizes elegance of exeution over emotion, structure over excitment. There were many moments when I felt like prodding the music along. In his lifetime Mahler was known as a highly expressive conductor, and so were acolyties like Horenstein and Bruno Walter, not to mention latter-day champions like Bernstein and Tennstedt.

It's rather late in the day for literalism, but there's no denyong how well the orchestra plays and how goregous the hybrid SACD sound is (I played the recording on two-channel stereo). If it weren't for the sonics, which bring so much detail to light, this CD would only have rated three stars for interpretation. The new Zinman Mahler First on RCA is leaner and faster, but not as well played and just as literal. It does, however, include the discarded Blumine movement as a bonus track.

fine, straight forward performance caputured in excellent sound.......2007-06-19

Fast on the heels of Zinman's equally fine Mahler first symphony (RCA), we get another top notch SACD/CD hybrid version of it; this time from the Concertgebouw's in-house label. I don't own an SACD player, but I'm guessing that the SACD surround sound layer may sound better on this one, than on Zinman's RCA release. In plain, old two-channel stereo, this Jansons one sounds terrific! This is a bigger boned performance than the Zinman, with Zinman being just slightly better at smelling the flowers along the way (especially during the first movement's "wayfahring" develpment passage). Both are really good. Both conductors begin the scherzo just slow enough to allow a real lilt or "swing" feel to settle in. I like that Zinman plays down some of the bombast and bluster at the start out of the finale, but without also shortchanging the trombones or percussion. However, Jansons is slightly bigger sounding at the symphony's closing coda passage. My one and only complaint - a very minor one - is that I would have liked for Jansons to have pushed the tempo, just a tad more, at that slightly bigger sounding coda just mentioned. Also, unlike Zinman, Jansons does not include "Blumine" as an appendage.

Once again, the Concertgebouw prove that one a day to day basis, they're probably still the best overall Mahler orchestra on the planet. They play fabulously, and all four major sections of the orchestra receive equal weight: strings, woodwinds, brass, and percussion. Just to help lend some credibility to my argument, the Amsterdam audience goes nuts immediately afterwards (and they've heard more than their fair share of ALL the Mahler symphonies).

Average customer rating:

Sibelius's Symphony No.0 ?
Underrated symphonic poem

Sibelius: Kullervo [Hybrid SACD]

Manufacturer: Lso Live UK
ProductGroup: Music
Binding: Audio CD

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Saint-Saëns: Symphony No. 3; Poulenc: Organ Concerto; Barber: Toccata Festiva

ASIN: B000E42MQC
Release Date: 2006-02-14

Tracks:

Introduction (Allegro Moderato)
Kullervo's Youth (Grave)
Kullervo And His Sister (Allegro Vivace)
Kullervo Goes To Battle (Alla Marcia)
Kullervo's Death (Andante)

Customer Reviews:

Sibelius's Symphony No.0 ?.......2006-11-05

< < If you thought Anton Bruckner was the only one who wrote a zeroeth symphony, you're wrong. Jean Sibelius just did that, in the form of his (actually unnumbered) Kullervo Symphony, Op.7, a gigantic work in five movements for two soloists, chorus and orchestra >>

Months ago (Fe-Mar 2006, to be more precise), i wrote down my first impressions of this album and, quite frankly, was rather skeptical and found overall the performance to be improperly prosaic and somewhat lacking in atmosphere. A rather dry--if not triple sec--approach was not (to my ear) the perfect component for such an evolutive work as Kullervo. Now, as i am writing the present review for Amazon.com, i begin to regret what i wrote initially in Google Groups and wonder why i've been so wary about it--with the result to dismiss an overall excellent recording. Nonetheless, my opinion has changed to the positive and, at the risk of contradicting myself, after listening anew to this CD (after several months) i thought perhaps i should rectify my judgment.

All things considered, the LSO live's is not a bad version. Far from it, i think it shows marvelously how the work can sustain the scope of various interpretations. The performance is superb, with impressive sound quality, openness and clarity. Like the Mahler symphonies i've been listening to intensely this year, Sibelius's Kullervo takes advantage from different readings, showing the work through the lens of contrasting perspectives. It all further demonstrates why Kullervo stands as the great work it really is, a masterpiece invariably moving and attractive. This "live" version from the Davis/LSO partnership is, first and foremost, dynamically driven. The LSO plays to perfection and nearly everything seems to click into place. The soloists are expressive and the chorus competent (if not quite on a par with the finest choruses from Finland). I'll get back on that a bit later.

While i'm on the subject of different interpretations, i think its worth mentioning 2006 as a great harvest year for Kullervo with no less than three new commercial recordings within the span of twelve months! For the last few decades the work has gained in popularity, in a way unthinkable to the composer and the original publishers in the context of their time. Based on the snippets i've heard lately, Ari Rasilainen's version (CPO, recorded December 2005) appears to be quite promising. They employ a Finnish male chorus with a fine and incisive diction to liken with the best. Rasilainen studied conducting under Jorma Panula's guidance at the Sibelius Academy. His Kullervo, much in the way of the very first performance in 1892, is made from a mixture of Scandinavian and German executants. I've also heard the newly available (and long-awaited) version from Robert Spano and the Atlanta S.O. (Telarc CD 80665, November 2006 release). The latter is a sensational account and is, formally, nothing short of breathtaking. Prior to the recording sessions, the first concert of May 2006 was described as a groundwork full of promise. I like the fact of listening to an account of Kullervo with a different flavor. The performance notably includes Nathan Gunn - a warm and powerful baritone voice. The mezzo Charlotte Hellekant, in spite of a fine voice, doesn't match the likes of Groop or Paasikivi. I couldn't figure out Spano bringing less than a great realization of the score, and this is exactly what he has done: Splendid music all the way and some impressive chorus singing (in Finnish), this with Telarc's lauded sonics (a superb DSD recording). By the way, their booklet cover image is magnificent.

Interestingly, the Davis LSO live CD goes for 72 minutes--roughly the total time of both Spano and Rasilainen--while the first Davis LSO recording on RCA clocks in at a leisurely 81 minutes. There seem to be two `schools': The Davis one, that is--the first Davis, in lengthier timings (76-80+ min.), and the Berglund one, typically shorter (about 70-75 min.). Note that i didn't use the word `lengthier' in a necessarily negative way. Neither of the two `schools' can claim to be the better nor there is one clearly superior to the other; a question of interpretation is at the heart of this topic. Venial caveats aside, the first Davis is very good in its one-of-a-kind interpretation. Of Davis, i've drawn comparisons between his first and second accounts (I- LSO, studio, Walthamstow, 1996; II- LSO, live concerts, Barbican, 2005). Here are my subjective preferences:
1.Introduction - Here i like both; still, i marginally prefer Davis I for its sheer authenticity.
2.Kullervo's Youth - Davis I this time; i like the broad tempi and the atmospheric, chilly melancholy of the earliest recording. The Davis II is slightly more abrupt, albeit with clearer sound, and comprises interesting things.
3.Kullervo and his sister - Davis II, definitely; very good soloists in Davis I and still better ones in Davis II, especially Monica Groop. Improved articulation and intonation of the chorus in Davis II.
4.Kullervo goes to war - Davis II, again; much in the vein of the authoritative Berglund (EMI) or Jarvi (Bis), it sounds more mercurial and has more fire than Davis I.
5.Kullervo's death - Both are great, but i have a penchant for Davis II; the first Davis is more `held back' and, if anything, seems more aloof in timbre. The second Davis has enormous power where the Davis I seems to bolster slightly less tension. In any case, I and II conclude in a triumphant surge. Davis II gets the last word over the other in terms of sound quality and the chorus is more persuasive.

I've previously shed some ink about this symphonic work on Amazon.com (Vanska and P. Jarvi). The St.Matthew Passion excepted, Kullervo is the greatest classical work i have heard so far. For sure, the work isn't flawless: Still, who cares when the music is so good and is hued with so profound gravity? The work is a drama and, in its intensity, conveys vehemence, turmoil and despair. But, despite the woe, there is light and there is a glimmer of hope in the distance. One of the facets of Sibelius's Kullervo Symphony is that it is like a journey through an experience of loneliness, a complete loneliness amidst the bleak milieu of the nordic wilderness. Yet, that kind of `isolement' isn't entirely devoid of life and movement. In addition, the context of the work isn't deprived of a certain form of spirituality. Kullervo, as a central character, is the raison d'etre of the narrative; he is not only the anti-hero but he is, as well, the best example of a victim of fate, a sort of counter-image of the sacrificed child if you will. The storyline is complex in its puzzling simplicity and comprises neurotic and erotic schemes. The subjacent, barely suggested Oedipus complex is often stated in respect to the events surrounding Kullervo and his family. It is a valid notion, in my opinion, but should not eclipse the primary traits and motives related to the legend.

Kullervo is, essentially, an episode from the Kalevala. The fact that Sibelius was once in contact with Larin Paraske could warrant the likelihood in his using of some suggestive power inspired by the old runic chants of Karelia. Virtual Finland explains this with arresting details: "In 1890, Jean Sibelius was converted to Karelianism by the music of Robert Kajanus. He also received inspiration from meeting folk poetry singer Larin Paraske. The symphonic poem Kullervo, finished in 1892, was Sibelius' first composition with a Kalevalaic theme. He had already made a trip to Karelia that same year." The arcane sources linked to Finnish mythology and ancestral poetry confer the work some of its dark, appealing beauty, though it is basically the composer's genius which made it a uniquely fascinating work in the first place. Most of the `magic' is to be found in the music, primarily (however, i will be the last to argue over the significance of chanted words, for by their tone they add much to the symbolism and confer a lyrical quality to the music).

The `Flying Inkpot' (web) depicts the central movement thus: "The 25-minute third movement is the heart of Kullervo where the choir and vocal soloists first appear. [...] The music is powerful: the choir sings mostly in unison, achieving a chant-like rawness which is very direct in its communicative evocation of that primal harkening we associate with myth. Add to this a relentless five-beat ostinato maintained by the orchestra, the work is as original as it is rooted in the past. Even more ingenious is the fact that it is written in 5/4 time (another famous example is `Mars' from Holst's The Planets), which takes into account the Finnish language's predominant first-syllable emphasis." As soloist, Monica Groop is a reference in respect to the work and is on a par with the distinguished Karita Mattila (Jarvi, Bis) and Eva Lisa Saarinen (Berglund), and she's a shade better than Lily Paasikivi (Vanska) The brilliant Jorma Hynninen is, so to speak, Kullervo personified (four recordings) and even the warm and generous voice of Peter Mattei isn't quite a match, although the latter's concert and studio contributions are uniformly pretty good. Personally, i marginally prefer Hynninen, Laukka and Viitanen. The LSO Chorus is a very good group with fine diction and a somber tone, but it will not shake the columns of the Helsinki University Male Choir (known as `YL' in Finland). The chorus of the newly released Atlanta Symphony Orchestra on Telarc is also a bit better in respect to their distinctive qualities.

Ivan March in Gramophone says that "the epic sweep of the new Davis account is irresistible," but also notes that "the recording, although extremely vivid in impact, is less than ideal: It is forwardly and artificially balanced, the LSO violins often not flattered, and at its first entry the chorus seems right on top of the listener. One hardly recognizes the Barbican acoustic at all." In contrast, the latest LSO live flies rather on the swift side, a la Berglund, and seems to emphasize the martial--let's say heroic--aspects thanks to a steady dose of energy. This is more `yang' than the `yin'-inclined nature of the 1996 account. The DSD recording makes it clear that this is one of the best Kullervos in matter of sound (notwithstanding the small aforementioned problems, mainly an outcome of the recording venue). True, there are the ineffable Barbican Hall acoustical `properties' which contribute to the dry sonics i have mentioned previously. David Lewis of AMG wrote that the dry ambience of the live Barbican "adds to its excitement and electricity": This is a view to which i can subscribe only in part. Yet, this certainly is an impressive account at any rate. Here and there we can discern the `layers of sound' that should bring back to mind Bruckner, a procedure or feature which the young Sibelius was using as soon as in his earliest compositions (though obviously not to the extent of Bruckner). I've been very pleased to discover things in it i previously didn't notice, such as some wonderful bass lines and subtle rhythmic effects from the string section. The LSO members play boldly and with excitement for their conductor; the winds and, especially, the brass glow emphatically in an ensemble whose sound is a tad bigger than the earlier account. The third movement is majestic and makes me think of Wagner or, indeed, Bruckner. The daring `Kullervo Goes to Battle' is probably the best since Berglund. The conclusion is colossal and has a sort of Straussian quality, if i dare say. At that point, the choral symphony goes full circle when the tragic tale concludes with Kullervo's Death--mirrored by the resurging theme of the first movement.

I couldn't agree more with Ivan March (in his review of the Davis) that the recording by Vanska (Bis) is still "a first-class account" and is "dramatic and powerfully atmospheric." There are now many fine accounts on disc and none of them is a leftover. In all, the LSO live Davis is warmly recommended even if it does not displace Vanska (still my favorite), Jarvi and the two Berglunds as `benchmark'. My review goes for the SACD *and* the standard audio CD (not surprisingly, the SACD happens to reveal a fuller, deeper sound). Good news to have such great discs of a deservedly great work. The new readings from Spano and Rasilainen are also worth looking for and should warrant high ranking in the catalogue.

Underrated symphonic poem.......2006-09-10

I bought the SACD version without any particular expectations (I try to encourage publishers to support the format by buying as many new SACD releases as possible). Kullervo is not one of the most frequently performed works of Sibelius. For these reasons, I was expecting a curiosity, a work of youth, as the low-numbered opus suggests. Far from it, this is thrilling music, the finale sent shivers down my spine, the way "Finlandia" can, but to appreciate it fully, you need to understand the story and the backstory.

The tale of Kullervo comes from the Kalevala, the Finnish national epic, and is one of unrelieved woe. The Finnish people only gained their independence after fending off th Swedes, the Russians and the Germans, and the Kalevala was a vital part in their national awakening, as is Kullervo.

Kullervo is a tragic figure in the mold of Oedipus, and directly inspired Tolkien's Turin Turambar. He is enslaved as a child, and thinks his family killed. He kills his captor, the god Ilmarinen's wife and escapes to discover his family is alive. His father sends him to collect taxes and on the way he meets and seduces a woman. They discover to their horror that she is his sister. In despair, she commits suicide. Kullervo returns to his family to find they are all dead. He decides to take revenge by slaying his evil uncle (who sold him into slavery in the first place), and eventually overcome by grief, commits suicide.

For whatever it's worth, David Hurwitz at Classics Today gives this recording a perfect 10/10.

After reviewing two other recordings, a few minor flaws crop up. The orchestra has a tendency to overpower the solists in the third movement "Kullervo and his sister". But otherwise a finely played and rousing interpretation.

Average customer rating:

Classic John Denver
The Best of John Denver
Great live show, and fine songs.
Stereo SACD: No Multichannel
Great Live reccccording Of John's Hits!

The Best Of John Denver Live
John Denver
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Stardust
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ASIN: B00004W5A2
Release Date: 2000-08-08

Tracks:

Rocky Mountain High
Take Me Home, Country Roads
Back Home Again
I Guess He'd Rather Be in Colorado
Matthew
Sunshine on My Shoulders
Darcy Farrow
Wild Montana Skies
Medley: Leaving on a Jet Plane/Goodbye Again
Pet on the Blues
I'd Rather Be a Cowboy (Lady's Chains) [#]
Fly Away
I'm Sorry [#]
Annie's Song
Poems, Prayers and Promises
Calypso

Customer Reviews:

Classic John Denver.......2007-04-14

This sixteen-song set of some of John Denver's greatest hits is probably one of the best live recordings he has done. He manages to bring out the magic of each song and never falters. Unlike most live albums that lack the clarity or depth of studio albums, this collection sounds crisp and vital due to the SACD format. It sounds as if John Denver is literally in your room. The guitar work is as crystal clear as well. Indulge yourself. This is a classic album.

The Best of John Denver.......2006-11-04

This is a great CD of the best known John Denver songs. I owned this CD before but it got lost and was glad to be able to find it again. The commbination of great music and live show makes this an enjoyable CD.

Great live show, and fine songs........2004-02-03

John Denver has never been one of my favourite singers/songwriters but this is really pretty special.I bought it because it was an SACD and I've read good things about this SACD. Well the concert seems to have been one of those events that happens by chance to get all the right things going for it at once. His voice,atmosphere and recording are all of the highest scale. The songs are catchy and inofensive. This event was lucky to happen when it did as he died in 1997 and this is the next best thing to a live concert. For music I give it 90% and recording 90%.

Stereo SACD: No Multichannel.......2003-10-13

This is a great performance. My review is mostly based on the fact that this is a stereo SACD, not multichannel. I am learning more about SACD every day, but was very disappointed that it is only presented in stereo.

Great Live reccccording Of John's Hits!.......2002-09-10

This is a wonderful compilation of live versions of John Denver's greatest hits even as he was continuing to make them. . Here we see the monster hits that propelled him into amazing popularity and superstardom in the early 1970s. In his heyday no one was outselling his albums or out-booking John for concert appearances, and considering the incredible talents on the scene at the time, that is a pretty good indication of just how popular he was, and just how universal John Denver's appeal was. No one else sang of the wide-open possibilities and seemingly limitless prospects for a good life awaiting those who would free themselves from the bonds that confined them and just dare to soar along with him in the wild open spaces.

All the tracks here are terrific, from "Take Me Home, Country Roads", the breakthrough country-pop hit that launched him onto the public stage, to "Rocky Mountain High, his paean to appreciating the beauties of nature and the natural life. He, more than any of his contemporaries, actively caught the public's imagination regarding the wonders of the natural environment, and in a time when environmental concerns were splashed all over the headlines and the evening news, John's vision of popular concern for and stewardship of the natural world was immensely important. I love all the songs here, including "Starwood In Aspen", "Rhymes And Reasons ", "Sunshine On My Shoulders", " The Eagle And The Hawk", and my own special favorite, "Poems, Prayers, And Promises". This album represents a wonderful overview of the early work of John as he thrilled a whole generation with his own perspective of a meaningful life lived in the natural splendor of nature. I know you will enjoy this live performance of many of his hits as well as all the other three of his greatest hits albums. Far out!

Elgar: Enigma Variations; Introduction & Allegro [Hybrid SACD]
Average customer rating:

Colin Davis & LSO: Elgar Enigma Var.: Superb Sound, Compelling Reading

Elgar: Enigma Variations; Introduction & Allegro [Hybrid SACD]

Manufacturer: Lso Live UK
ProductGroup: Music
Binding: Audio CD

All Works by Elgar | Elgar, Sir Edward | ( E ) | Featured Composers, A-Z | Classical | Styles | Music
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ASIN: B000Q7ZI9U
Release Date: 2007-06-12

Customer Reviews:

Colin Davis & LSO: Elgar Enigma Var.: Superb Sound, Compelling Reading.......2007-06-16

Most of the available newish recordings in the LSO Live series are worthy additions to the catalogue. The SACD edition of the Smetana Ma Vlast cycle, the Kullervo, and the Sibelius Second Symphony are right up at the top of the fav shelves. Now, add this performance of the Elgar Enigma Variations, plus Introduction and Allegro for string orchestra. The multiple channel super audio sound is so rich and lush that it might offer you a different way of showing off your home system.

Good thing the sound is so good. You really get to hear a plausible and engaging recreation - of the venue, - and of the involved, heartfelt, and expertly gauged reading that this conductor and band bring so beautifully to life.

From the first familiar - too familiar? - phrase - a listener feels sound struck. The melody which Elgar later described as capturing the loneliness of the artist does just that, for once. It is winsome, but beneath the melody's prettiness is a darker sound of shadow. Elgar apparently suffered from a psychiatric syndrome which we today might call, Bipolar Disorder. He was up when he was having musical ideas and composing, and fell crashing down when he had setbacks in his career, or had slumped into the valleys between major musical work.

The other sections are just vivid and full of Edwardian Romance as this start. Some of the less turbulent sections remind one of how Mahler drops down to chamber orchestra ensemble proportions, although the style is always Elgar not Mahler. In the LSO Live SACD of the Shostakovich 11th Symphony under Rostropovich, I finally felt I could not deal with the extreme dynamic ranges. Quadruple p was just too dim and ineffable to keep my ear's attention, while Quadruple F was going to leave me deaf and under suspicion from the next door neighbors. Happily this outing manages better, though it does have wide dynamic range, too. But soft playing just misses being too much, and the loud playing won't have the neighbors calling the police or the city sound codes inspectors on you.

The overall interpretive style is Romantic, post-Brahms. You can tell that Elgar owes as much to Liszt or Schumann and to Mendelssohn - maybe even to Schubert - as he does to Brahms. Solo bits are wonderful, but never lost from the big musical picture by being too disconnected. When the band is playing full tilt, you get more than a taste of that empire-building pomp and circumstance which Elgar immortalized for us in a set of occasional marches for big orchestra.

While the marches are ceremonial and public, in these variations Elgar dares to get much more personal and intimate, and this reading exemplifies getting that intimate, in a reserved and understated and possibly archetypally Edwardian British manner. The profound mystery still connected with human existential loneliness, with cruel mood swings of disruptive and despairing proportions, and with enduring human friendship (especially in the face of adversity and soul-devouring success) deepen the high arts of variation to which the composer devoted himself in this work.

This one belongs right up there, then. Next to my Pierre Monteux/LSO and my Adrian Boult/LSO readings. A touch less formal-structural, and a tad warmer. Quite welcome.

The remainder of this super audio display disc is filled with a stunning string orchestra performance of Elgar's Introduction and Allegro. From low to high, the strings are simply lean and luscious, all at the same time, like an idealized torso from a Greek Golden Age. They positively glow with health and musical finesse.

Something very British about Elgar's variations points towards the future, points, say, to Britten's Purcell variations? Modernity is awaiting its entry in the wings, somehow. Even while late nineteenth century global empire thrives and people are bustling about, an immense, impending twentieth century sea change hangs over all that vitality.

Thus it makes good musicological sense for the Elgar variations to be paired with the later Britten, just as Jarvi has done on his SACD with Cincinnati. That, too, is worth your attention, and I do have it. But my tip of the bowler still goes to Colin Davis and the LSO, a band whose tradition and history include playing under the composer's direction.

Which reminds me. I would love to see this combo do a Britten disc or two, including the obvious orchestra works, plus probably the violin concerto and the tenor or soprano vocal cycles.

Hope Sir Colin is up for it. Highly recommended. A display of super audio proportions for your home system, and a musical compass rose in tribute to Elgar in all his dark and bright dimensions.

Music:

Music

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