Australian Melodrama [Import]

australian melodrama [import]

Editorial Reviews
Product Description
19 track collection for this highly influential Australian outfit takes in material from the early lo-fi pop of the mid-80's through the Bad Seeds-like atmospheric country and on to the more electronic leanings of their later work. An essential Australian

Australian Melodrama,Triffids,Mushroom,Alternative Pop/Rock,Australia,Pop,Rock/Pop

Australian Melodrama [Import]

Average customer rating:

party time
Aussie Awesome

Sneaky Sound System
Sneaky Sound System
Manufacturer: Edel
ProductGroup: Music
Binding: Audio CD

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Black Fingernails, Red Wine
Pocket Symphony
Year Zero

ASIN: B000HXDSDG
Release Date: 2006-12-08

Tracks:

I Love It
Thin Disguise
UFO
Pictures
I D E W 2 L U
You Should Have Told Me You Were Gonna Change
Goodbye
Hip Hip Hooray
It's Over
You're Hot
Tease Me
Maybe [Instrumental]

Customer Reviews:

party time.......2007-04-18

I have seen this band countless times in Australia. If Sneaky are playing a party you know it is going to be a hot time in the city. From funky beats to sexy lead singers, these guys know how to give it up to the crowd and keep the place moving. This, their second album is a blast. They never loose their sense of fun, while avoiding self-indulgence or silliness. Put it on and party down.

Aussie Awesome.......2007-02-20

Possibly one of the best dance albums for 2006. Why they haven't hit the pop radar in the USA is a mystery. They are very well worth the price for an import, waiting for a US release of the album will just kill anyone who craves good dance music.

Even if you don't like dance music, this album is bigger and more intellegent than that. It is also a fun album, a pick-me-up better than any psychotropic drug.

CHEERS!!!

Average customer rating:

Excellent spirited music!
Connecting With our Past and our World
Tribal experience
It's Out There!
Uplifting Nomad

Nomad
Nomad
Manufacturer: Australian Music
ProductGroup: Music
Binding: Audio CD

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Winds of Warning: Digeridoo/World Music
Songman
Shaman's Breath
Didgeridoo Trance Dance
Feet in the Soil

ASIN: B000001ZBG
Release Date: 1994-10-21

Tracks:

Nomad
Mountain Walk South
River Crossing
Gathering
Wildlife
Mountain Walk East
Tracking
Follow The Sun
Trading Ground

Customer Reviews:

Excellent spirited music!.......2005-01-23

I have had this CD for 6 years. I don't even know how it ended up on my shelf. I have listened to it regularly for the entire time that I have had it. There is a lot of spirit and soul in this music. It will make you want to move. It is awesome. If you like "world music", drum beats, tribal styles... you will love this CD.

Connecting With our Past and our World.......2005-01-21

When I bought this CD I said cool Australian music. But When I heard it I was like WOW!! it was ten times better than I expected. Nomad combines the Australian aborigoanl sounds with our very own Native American sounds. The songs I like best are "Wildlife", "Gathering", and "Trading Ground". The first one is a didjereedo only track that is just awsome. The gathering made me feel in an collective mood like i was part of the whole world singing to this song. and the last one trading ground is the best beacuse it combines the East and the West. I loved the chants and the singing especially in "Tracking" and "Follow the Sun" :>

Tribal experience.......2004-03-19

Addictive, powerful, smooth... FFFFFFFFFFFFFUN! The exotic sounds of the didgeridoo compel you to listen, the eruption of flutes and drums drive you into hypnotic trance with the smooth pulsation of voices waking you back up. What a plethora of sounds... It all draws you in. My curiosity turned to awe as the music invaded and stirred my soul. Load this into your MP3 player for your next walkabout.

It's Out There!.......2003-02-01

I run with this music. I never heard of this group before. I bought the CD because it was recommended. Very tribal. The native lauguage with the traditional instuments and other worldly sounds.........all I can say is with this CD I am not running in the 20th century.

Uplifting Nomad.......2003-01-12

What can I say?! This album is truly wonderful from start to ending. I've listened to this album since it's release and have never gotten tired of hearing it. Definitely a "must-have" for New Age listeners.

Average customer rating:

Superb playing from Pahud and Australian Chamber Orchestra

Vivaldi: Flute Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Telemann: Flute Concertos; Emmanuel Pahud
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Bach Brandenburg Concerto No. 5, Orchestral Suite No. 2/ Emmanuel Pahud

ASIN: B000DZ6VWS
Release Date: 2006-01-24

Tracks:

Allegro
Largo
Presto
Largo
Fantasmi. Presto
Largo
Presto
Il Sonno. Largo
Allegro
Allegro
Cantabile
Allegro
Allegro
Largo
Allegro
Allegro Non Molto
Largo E Cantabile
Allegro
Allegro Non Molto
Largo E Cantabile
Allegro
Allegro Non Molto
Larghetto
Allegro
Allegro
Andante
Allegro

Amazon.com

Emmanuel Pahud is an amazing flute virtuoso, and he shows it in these sparkling Vivaldi Concertos. He whips up the waves in the Op. 10, No. 1, better known as "The Storm at Sea." Faster movements throughout these works are taken at a spanking pace, but with Pahud's breath control and ability to shape phrases at any tempo, he's not fazed at all. Those faster movements are done with energetic playing by all hands, the Australian Chamber Orchestra proving their mettle by matching the soloist and providing ample charms of their own, with sharp accents and vigorous yet shapely playing. Slow movements are even better, tapping Vivaldi's vein of lyricism with restrained but meltingly beautiful playing. Listen to the Largo e cantabile movement of Op. 10, No. 5 or the Largo of the concerto called "La notte" and be enchanted. It's all performed on modern instruments, but even die-hard period instrument fans should find this disc a keeper. --Dan Davis

Customer Reviews:

Superb playing from Pahud and Australian Chamber Orchestra.......2006-03-22

Distinguished Berlin Philharmonic Orchestra Principal Flutist Emmanuel Pahud offers some riveting, joyful performances as soloist in these Vivaldi flute concerti. He's well supported by splendid, virtuoso performances from violinist Richard Tognetti and his Australian Chamber Orchestra; this recording marks their EMI recording debut (Richard Tognetti and his small band may be best remembered to audiences worldwide as the musicians in the soundtrack recording of the film "Master and Commander" for which Tognetti composed some of the music. But they are perhaps best known for their elegantly stylish playing of Baroque music, winning ample praise from critics and fans worldwide.). The Vivaldi concerti represent several different periods from the composer's life; for example, the Opus 10 concerti were composed originally for other instruments - with the notable exception of the fourth concerto in G Major - and so these are really Vivaldi's transcriptions for flute backed by a small chamber ensemble comprised of harpsichord and strings. Not surprisingly, the sound recording is quite superb. This fine CD is one of the best new classical recordings of 2006 I have heard so far.

Average customer rating:

Exhilarating
The Lightness of Joy
A mix of good and not so good
Wonderful but
Fans of Hewitt will rejoice; everyone else may look askance

Bach - The Keyboard Concertos Vol 1
Bach , Angela Hewitt , Richard Tognetti , and Australian Chamber Orchestra
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Bach - The Keyboard Concertos Vol 2
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Bach: The Toccatas

ASIN: B0009K9P7K
Release Date: 2005-06-13

Tracks:

Allegro
Adagio
Allegro
(First Movement)
Andante
Allegro Assai
Allegro
Affettuoso
Allegro
Allegro
Adagio Ma Non Tanto E Dolce
Tempo Di Alla Breve

Amazon.com

This delectable collection of Bach Keyboard concertos is so unsullied by tradition or a point to prove that the listener is left refreshed. Angela Hewitt plays with such warmth and song-like smoothness in the slow movements that they are little islands of repose in the midst of Bach's perky outer movements, which Hewitt and conductor-violinist Richard Tognetti launch with unmatched verve, rhythmic thrust and quick-but-never-rushed tempi. The Fifth Brandenburg and the Triple Concerto also call for a violin and flute and Togneti and Alison Mitchell are ideal partners to Hewitt: the give and take seems simply like great "jamming." Every note is clear and each soloist (and the fine Australian Chamber Orchestra) adds ornaments which are pert and welcome. The big cadenza in the Fifth Brandenburg is like liquid--beautifully flowing and well-articulated by Hewitt--and while the virtuosity is never in doubt, she never draws attention to herself. She plays a modern piano and the Orchestra play modern instruments, but early-music performance practice and style are very much in evidence (including a harpsichord in the continuo section). This is Bach playing of the highest order and splendid entertainment. --Robert Levine

Album Details

Angela Hewitt Performed and Recorded with the Australian Chamber Orchestra in February 2005, a Perfect Collaboration Resulting in Two Volumes of Bach Keyboard Concertos.

Customer Reviews:

Exhilarating.......2007-07-12

This is a stupendous CD. Angela Hewitt's glorious and sensitive touch is beautifully matched by the precision and vitality of the ACO. Although some reviewers have decried the performance of Brandenburg No. 5, to me this is a highlight. The solo at the end of the first movement is rivetting.

If I wanted to introduce someone to the glories of Bach, this is the CD I'd play to them. Turn it up load and rejoice.

The Lightness of Joy.......2007-01-19

Not being a musician, I cannot comment on any technical aspect of the performers' playing (except that the concertos sound just fine with a piano used as a solo instrument and a harpsicord used only as continuo).

However, having now listened to both volumes of the Keyboard Concertos several times, I know how they affect me - every time I listen, I feel better...lighter...simply more joyful.

George Leigh Mallory -- he of "Because it's there" Mount Everest fame -- also said what must surely apply to these performances: "What we get from this ... is just sheer joy. And joy is, after all, the end of life. We do not live to eat and make money; we eat and make money to be able to enjoy life. That is what life means and what life is for."

A mix of good and not so good.......2006-03-02

A problem for me with performances of harpsichord music on pianos is that the pianist often uses way too much pedal. Not that I want a piano to sound like a harpsichord-- but the cadenza at the end of the first movement of Brandenburg 5 did make me cringe. It was so smeared that sometimes notes disappeared. In other places, there seemed to be very out of place fortissimos that distracted one from the line of the music. All that said, Hewitt excellent pianism often shines through-- I was hearing musical lines that have not been in evidence in other recordings.

The soloist performance I'd rate 3 stars; the support of the Australian Chamber Orchestra and the generally excellent sound bumps the overall rating to 4.

Wonderful but.......2006-02-26

I very much enjoyed Angela Hewitt's playing in Bach's keyboard concertos. Some might quibble that they are played on a piano, but horses and carts have also been replaced by motor cars. The ACO is one of Australia's treasures - described in London as the world's best chamber orchestra - and it gives Hewitt wonderful support. (The prolific reviewer Larry VanDeSande has eleswhere described the ACO as "a scrawny sounding period band" but LVDS seems to have sacrificed integrity for effect - he might equally describe the Chicago orchestra as "overblown and conventional"). The real problem with Hewitt and the ACO is that equally fine performances at a fraction of the cost can be found on Naxos with Hae-won Chang (piano) and the Camerata Cassovia. Fair dinkum and I kid you not.

Fans of Hewitt will rejoice; everyone else may look askance.......2005-11-12

You never know what's going to come back into style in classical music, do you? With Murray Perhaiah and now Angela Hewitt playing the Brandenburg Concerto No. 5 from the modern grand piano, we seemingly have gone backwards in time to the era of the great pianists and wax recordings in the early 20th century.

Hewitt plays the traditional Bach keyboard concerti Nos. 1 and 7 from the piano and contributes a performance of the Bach "Triple" Concerto from the concert grand to fill out this well-stocked disk of Bach wonders. I only wish I had more wonderful things to say about the goings on.

What I find most unattractive about these renditions -- aside from the very unstylistic inclusion of a concert grand piano in the Brandenburg and Triple concerti -- is the way the combined forces mix styles.

In the opening Concerto No. 1 for keyboard, Hewitt at times produces a sonority that is more appropriate for Brahms than Bach. She is matched by a scrawny sounding period band from Autstralia. This combination of Brahmsian piano and period string band...well, it just doesn't come off very well for me.

Other than her occasionally overripe tone and romantic sonority, I don't quibble with Hewitt's approach for the most part. She is a known commodity in Bach and her work here is similar to everything else she's done with this composer. Only a highly romanticized cadenza at the conclusion of the Triple Concerto -- which probably comes off best among the four concerti recorded here -- seems wayward.

On the pluse side, the opening movement of the Concerto No. 1 is pushed very hard in Bach style and the middle section of the Concerto No. 7 is very beautiful. It works well in the piano concertos but elsewhere seems to me to be a step backward to a time when people thought Bach surely must have meant to include a concert grand piano where he only had the limitations of the clavichord and harpsichord at his disposal.

Where this error in judgment is most apparent is in the Brandenburg Concerto No. 5. Listen to that long harpsichord solo at the end of the first movement by any good recording using a harpsichord, then come back to this recording and notice the way the piano not only lacks color throughout the concerto but almost seems to disappear at the same junction.

At other times, the concerto grand overwhelms the thin tone of Richard Tognetti's violin and Alison Mitchells flute, both here and in the Triple Concerto. This, to me, is what most renders this recording a curiosity and not essential Bach musicmaking.

I think this recording will be accepted with open arms by fans of Hewitt and those that hanker for a return to the era of Alfred Cortot's recordings of the Brandenburgs circa 1931. For others, this recording will more likely be considered an oddity to be heard once and discarded.

Average customer rating:

A pleasant surprise
The original sound of their music.

At Home with the Trapp Family Singers

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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The Original Trapp Family Singers
Volume 1
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Christmas With the Von Trapp Children

ASIN: B000AMJDVU
Release Date: 2005-09-13

Tracks:

Ev'ry Year Brings Something New
The Farmer's Boy
Waltzing Mathilda
The Lone Prarie
An Eriskay Love Lift
Early One Morning
Trio
In Einem Kuhlen Grunde
Kuckuck Hat Sich Zu Tod Gefallen
Muss I Denn (Zum Stadtele Hinaus)
Innsbruck, Ich Muss Dich Lassen
Alt-Niederlandische Tanze
Es Wollt Ein Jagerlein Jagen
Vocal Yodel
S'Dirndl Is' Wunderschon
Two Austraian Dances
Auf Der Alm
Hatt I Di
Spinn, Spinn Marie
Der Gru
Die Hochalm
Little Terzetto
Andreas Hofers Abschied Vom Leben

Customer Reviews:

A pleasant surprise.......2007-03-08

I'm one of those The Sound of Music addicted, having lost the track of how many times I've seen it whatever the format is. Therefore, it was basically for curiosity that I've bought this CD. It's a fine recording that takes you to a typical, cosy family reunion. The male voices are not impressive and I wouldn't include the flute solos in the CD. But the final result is very pleasant, excellent to listen in the car while you're driving in the countryside (before lunch, of course).

The original sound of their music. .......2006-01-15

The original von Trapp Family's twenty years of touring and performing internationally had finished, and Maria Augusta von Trapp had written their story in three books and begun several decades of missionary work in New Guinea by the time "The Sound of Music" hit Broadway, and Julie Andrews later sang about her favorite things in a top-earning film. I don't know if the original von Trapp Family benefitted from show and film royalties; they certainly deserved to, for they worked very hard perfecting, under their conductor Dr Franz Wasner, their natural ensemble and music-making talents.

The results may be heard in this first-class CD reissue of recordings they made in New York in 1952 and 1956. The family amassed a large repertoire, collecting items while touring, for example "Waltzing Mathilda" from Australia. The selection here includes a cross-section (loosely titled "Folk Songs") and some of their instrumental items involving recorders, cello and harpsichord. Perhaps the items from their rich Austrian culture are the most satisfying.

This is the second DGG CD release of their recordings. Duration 52 minutes. I recall from my LP collecting days, that there are enough Trapp Family recordings to fill a third CD. I look forward to it.

Jesus Christ Superstar: The Album - 1992 Australian Cast Recording Highlights

Average customer rating:

When you want your JC Superstar to kick butt, get this version!
I've not heard a better version yet...
This album makes me want to move to Australia
This will change your opinion of Weber...
A Fresh, new Superstar

Jesus Christ Superstar: The Album - 1992 Australian Cast Recording Highlights
Andrew Lloyd Webber , and Tim Rice
Manufacturer: Import [Generic]
ProductGroup: Music
Binding: Audio CD

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ASIN: B000007174
Release Date: 1996-09-04

Tracks:

Heaven On Their Minds
What's The Buzz/Strange Thing Mystifying
Everything's Alright
Hosanna
Simon Zealotes/Poor Jerusalem
Pilate's Dream
The Temple
Everything's Alright (Reprise)
I Don't Know How To Love Him
The Last Supper
Gethsemane (I Only Want To Say)
King Herod's Song
Trial Before Pilate
Superstar
John 19:41

Album Description

Featuring highlights from the original 1992 Australian cast, John Farnham, Kate Ceberano, Jon Stevens, John Waters & Angry Anderson. Remastered with a 16-page booklet with photos & lyrics. Polygram.

Album Details

Andrew Lloyd Webber and Tim Rice first presented this theatrical masterpiece to the public in 1970. These are highlights performed by the 1992 Australian cast featuring John Farnham (Jesus), Kate Ceberano (Mary Magdalene), Jon Stevens (Judas), John Waters (Pontius Pilot) & Angry Anderson (Herod, though you may recognize him from his 'Mad Max: Beyond Thunderdome' fame). Recorded in Sydney, Australia on August 4, 1992.

Customer Reviews:

When you want your JC Superstar to kick butt, get this version!.......2006-03-09

Easily the most alive and exciting Jesus Christ Superstar ever. The music and vocals are absolutely astounding and both were updated in a completely fresh and non-offensive manner. My only regret is that there is not a complete version of this cast anywhere. We used this version as a temlpate for a production my Alma Matter put on 4 years ago. Order this disc if you are a fan of musicals, Jesus, or rock music in general.

I've not heard a better version yet..........2006-02-11

I went to see the production that this recording comes from in 1992, at the age of twelve. I still have the memory of King Herod's song with tap dancers in shimmering silver sequined mini dresses with bright green lights and strobes. I loved it so much that my parents bought me this CD. I still have it now, at the age of 25, and I'm still impressed with it. I've heard other versions of JCS and seen several performances both amateur and professional, and none come up to it's standard in my opinion. The performers involved, John Farnham, Kate Cebrano, Russell Morris, John Waters, et al may not be widely known outside of Australia, but they're very highly regarded here, and that's the rest of the world's loss. This is a highlights album, so it doesn't have everything from the show, notably missing is This Jesus Must Die, which has David Gould, as Caiaphas. He has the deepest voice I've ever heard and really makes his presence felt in Hosanna. Now I wouldn't necessarily proclaim this to be the definitive version, as I've not heard every version that's around, its certainly a very good version and well worth a listen.

This album makes me want to move to Australia.......2005-09-14

I saw a regional theatre performance of Jesus Christ Superstar the other night and was pretty impressed with the music and the fact that it's a real "rock opera" with screaming high notes and rock drums and guitars and everything. My friend had a few recordings of JCC so I decided to sample some of them. First I tried the original concept album which was a little hippie-ish for me and then I listened to the movie version which I wasn't terribly impressed with.

I then put in the Australian Cast Highlights album and was completely mesmerized from the first note on. The job they did re-orchestrating the score is nothing short of amazing. You can really hear the Australian influence in the songs. It has this celtic/aboriginal flavor to it which makes the whole recording sound primal and majestic.

I used to have this opinion that Australia was a little backward when it came to music, not to mention Andrew Lloyd Webber was overrated. This recording has completely changed my opinion on both. It sounds incredibly fresh, exciting and emotional and NEW despite the fact that JCC came out in the 70's and this album came out in 1992.

The leads are the best I've heard so far. Judas does have a little bit of "LOOK AT ME I'M A ROCK SINGER" syndrome but he's so impassioned and he sings rock so well that you're willing to overlook it....or I am anyway since apparently I would sever ties to my homeland to move down-under because of one recording.

I'm a singer, and Jesus is a little depressing to listen to because you know only a select few on earth are possesed of a voice like the one he has. Pretty damn flawless. I really don't think you'll find a musical theatre rock tenor like this guy. If he isn't at least quasi-famous there's something wrong with the music industry.

Mary's delivery is a little "clipped" at times but she's still the best I've heard. Haven't quite heard that perfect Mary yet but she comes very close.

But really, the "best" JCC recording just depends on one's personal tastes. Still I defy you to say this recording isn't at least one of the best.

This will change your opinion of Weber..........2005-08-13

I am not a big fan of Weber... however, i do love JCS. But the music always tinkered a bit on the cheesy side. Then WAY back in 1994 my roommate was sent this version and i fell in love. when she and i departed in 1996, i was sad that i had to seperate from the beloved cd. 9 years later, i still miss it and now am purchasing it. get it
get it.
get it!

A Fresh, new Superstar.......2005-05-28

I'm a huge fan of Jesus Christ Superstar, and I have heard many renditions, most of which have similar orchestrations with very few changes. Ever since the 2000 movie starring Glenn Carter came out, the shows that followed have gotten worse and worse because they were made to be just like Gale Edward's production (which sucked in my opinion).

And then I found this- the 92 Aussie Version. This was one of the greatest recordings of JCS ever. The orchestrations are updated; you can hear more 'rock' in it; the drums and electric gutiars are more audibal, and everything has a new feel to it. The only thing I have to critizie is that some of the songs (like Everything's Alright) have lost their dramatic edge. Instead of the orchestra swelling after Jesus says his bit, it just reverts to the same music that played through the whole song.

And the singers are stellar- John Farnham (Jesus) has a great rock voice. He doesn't rip off of other people who have played Jesus, making a new type entirly his own, which I haven't heard for a long time. Although he can make it up to the High G in Gethsemane, his shout of 'Why Should I Die?' worked just as well; to top it off, he added a soulful 'Why' after that. In some places I prefer Darryl Lovegrove, the man who succeeded John Farnham after the 92 tour, but overall I enjoyed Farnham's proformance.
John Stevens is also excellent as Judas. He has a lot of emoation in his voice (it also sounds very rockish). But, sadly he can't compare with the great Carl Anderson, or the amazing John English, the original Aussie Judas. He rips a lot off of Andersons proformance. But overall, John Stevens is great as Judas.
The women who performs Mary (I can't remember her name) does a fairly good job, although she doesn't have the range that Yvonne Eliman does.
I don't care what anyone says- Pontious Pilate is good.
Angry Anderson does an excellent job playing Herod- I love the new heavy-metal approach to the song; he doesn't amuse me very much like Mark Haldow did (from the New Zealand Cast that featured the same music), but I enjoyed it all the same.
Simon Zealots is the best I've heard in a while. He ditchs the insane Larry Marshall act (which was funny, but it did get annyoing), and the flamboyent Tony Vincet act (which sucked horribly).

Overall, I highly suggest this recording to JCS fans old and new.

Also, check out:
-The Motion Picture (1973) with Ted Neely, Carl Anderson Yvonnie Eliman, Barry Dennon and Bob Bingom- one of the best casts ever.
-New Zealand Cast (1994) with Darryl Lovegrove, Jay Lag^aia, Marget Urlich, Frankie Stevens and Mark Haldow- the cast that succeeded the Aussie 92 Cast, using the same orchestrations as this one.
-Original Cast Recording (1970) with Ian Gillian, Murray Head, Yvonnie Eliman, and Barry Dennon- the first and one of the best.
-The Original Broadyway Cast (1971) with Jeff Fenholt, Ben Vareen, Yvonnie Eliman, Bob Bingom, and Barry Dennon- although the orchestrations are sped up, this is a must-buy; the first ever staged production.

Average customer rating:

too routine for me
Reformed purist.
2006 Gramophone "Artist of the Year"
A new way to present a time honored treasure

Bach - The Keyboard Concertos Vol 2
Bach , Angela Hewitt , Richard Tognetti , and Australian Chamber Orchestra
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Bach - The Keyboard Concertos Vol 1
Bach: Fantasia in C minor; Two-Part Inventions; Three-Part Inventions; Chromatic Fantasia & Fugue
Goldberg Variations
Bach: French Suites / Angela Hewitt
Bach: French Overture, Italian Concerto, etc

ASIN: B0009K9P7U
Release Date: 2005-06-13

Tracks:

Allegro
Larghetto
Allegro Ma Non Tanto
(First Movement)
Adagio E Piano Sempre
Allegro
(First Movement)
Siciliano
Allegro
Allegro
Adagio
Presto
(First Movement)
Andante
Allegro Assai

Album Details

Angela Hewitt Performed and Recorded with the Australian Chamber Orchestra in February 2005, a Perfect Collaboration Resulting in Two Volumes of Bach Keyboard Concertos.

Customer Reviews:

too routine for me.......2007-06-24

Angela Hewitt's two disc traversal of Bach keyboard concertos has received all kinds of critical acclaim, but to my ears this volume does not live up to its high reputation. Angela Hewitt has moved to the front of the pack of Bach players on modern keyboard - she plays very fluidly, & very respectfully. But her gentle, middle of the road approach, while pleasing, seems to lack genuine excitement. I won't say that her playing is bland, but it is certainly predictable. I have Hewitt's set of English Suites, which is more satisfying than the concertos; so I am not completely unsympathetic to her approach to Bach. Perhaps part of the fault here lies with the Australian Chamber Orchestra which sounds thin & uninspired? In any event, I bought the first volume of this set & returned it unopened after listening to the second volume.

How I wish Klara Wurtz would tackle this repertory....

Reformed purist. .......2006-02-15

When I first ran across these recordings, I dismissed them as another "romantic atrocity" commited against the music of Bach.
While some period purists, myself usually included, would cry foul at the inclusion of a modern grand piano in these concerti, I think it useful to remember that Bach was not ignorant of the pianoforte and its capabilities. In 1747, Bach was invited to the Court of Prussian Emperor Frederick the Great at Berlin where he was asked to test out the Silbermann pianofortes (the pianoforte was invented in 1709. Bach's prowess on the instrument so impressed the Emperor, that he asked Bach to improvise on a subject of his (the Emperor's) own invention, from which came the Musical Offering.
The modern piano is completely capable of overpowering a baroque chamber orchestra and to Hewitt's credit, she never exceeds the bounds of good taste and dignity by descending to the bombast that could potentially ruin this music and turn the soloist into the proverbial bull in a china shop. That is not to say that her interpretations are sterile and uninteresting; The very nature of the piano provides for a timbral and dynamic expressiveness unattainable on the harpsichord, and the soloist uses these effects to their best within the limits of the genre-conforming the piano to Bach and not Bach to the piano.
The 5th Brandenburg concerto, while obviously not 'authentic' is played with such grace and deference to the music and the other soloists that it becomes a joy to listen to. The flautist and violinist in the Brandenburg and triple concerti as well as the flautists in the 5th concerto, although playing modern instruments, are nonetheless gracious in their interpretation, once again conforming their instruments and technique to the music and not the other way around.
The Orchestra's performance is excellent. Though not perfoming on period instruments, they maintain the clear, precise timbre of a baroque orchestra. While the literal meaning of concerto may mean contest, the baroque concerto is less a contest and more of a cooperation of solo and orchestral forces than its romantic descendant which is almost a battle at times. The result is that neither soloist nor orchestra usurps the other's place in the music.

In the end, This performance, while not a period performance, is definitely not a romantic interpretation either and deserves to be heard if for no other reason than that it is a new take on these musical gems.

2006 Gramophone "Artist of the Year".......2005-07-21

Sometimes it is hard to decribe exactly what truly makes a great performance, but when many elements come together so splendidly as they do here, you immediately recognize it. These concertos are fresh and effervescent in every aspect - from Ms. Hewitt's delicate, poised articulations to the beautiful orchestral compliment from the ACO to the excellent Hyperion-engineered sound. Ms. Hewitt chose the Australian Chamber Orchestra after playing these works for many months with several orchestras around the world. Just hearing the first few bars of the first movement of the 6th concerto reveals how perfect Hewitt and the ACO are for each other and this music. The ACO's style and judgment are always in pefect compliment to Hewitt's playing - never overwhelming or underwhelming her gorgeous lines. If you prefer the more intimate dialog and effect of a smaller orchestra compared to the drama and power of a larger one, these performances should delight. There is a wonderful, chamber-like interaction and relaxed musicianship here that makes these performances rather irresistable and highly refreshing. Where the works in Volume 1 were more virtuostic and sprightly, those in Volume II here are a bit more intimate and pleasantly meandering.

Compared to other "reference" recordings, there is more of a carefree flow of tempo - and really charm - in the Hewitt/ACO performances which have a Spring-like freshness in their appeal. Hewitt's playing is both delicate but completely commanding at the same time and blends wonderfully with the feathery tones of the two flute soloists and Richard Tognetti's silky-smooth violin interludes. All use modern instruments, yet retain appropriate period mannerisms with sonorities that are truly beautiful, enhanced by superb Hyperion sound engineering. While Miss Hewitt could easily take over with her powerful Fazioli Concert Grand, she use finesse and nuance to create a more gentle interaction with the lithe ACO.

Having ten years of Bach recordings under her belt shows clearly in Hewitt's natural, at-one flow with the music - like she has penetrated the life within the music and just exudes it the most natural and intended manner like breathing. Her lines are sure and elegant and her ornamentations support the overall melody in the most delightful way that does not draw attention to the performer. Her bass 'flutters' are particularly appealing and inject nuances of artistry and excitement. This is music of top caliber and performances to be celebrated that have a timeless, ever-fresh quality that should wear well through the years. Such performances as this are one reason Miss Hewitt won the 2006 Gramophone "Artist of the Year" award. She is also Hyperion's top-selling artist.

I was impressed with the amount of extremely positive music industry reviews of these July '05 releases. Dependable music critic David Hurwitz of ClassicsToday gave both CD's glowing reviews and a perfect 10/10 for Artistry/Sound Quality. Indeed, even the non-SACD sound is absolutely brilliant and without fault (perfect balance, clarity of solists and depth of tonal textures). And with these concertos, Ms. Hewitt completes her decade-long Bach traversal with a grand crescendo and now moves on to new projects - which includes the third volume of Couperin's clavier pieces, works from Chabrier and three of Beethoven's piano sonatas including the Appassionata.

A last tidbit for Hewitt fans: Angela Hewitt is the first woman to record the whole of Bach's keyboard works - and doing it from memory as well, which is no easy task given the complexities of Bach's counterpuctal scores. In an interview Angela comments how many pianists fear performing Bach from memory as "getting off the rails" is easy to do with such inter-twining music - all of which make her Bach all the more impressive.

A new way to present a time honored treasure .......2005-07-18

This two set CDs of Bach's keyboard concerti surely brought Hewitt's discography to a new height. One relevant point is that Bach wrote these works for harpsichord, but as time and experience can tell, Bach survives through all transcriptions and applications of music instruments. This is a testimony that music is more important than form. I need to make this statement as most of listeners will agree with me that Bach rarely sounds so great as in this recording. Ms. Hewitt's playing is fluid and sensible, with reasonable pedal work added to bring sonority and legato at certain passages, but never overdone. Her passage works are well executed and clear, and her phrasings are subtle and convincing. In some parts, she made Bach extremely melodious. Australian Chamber supported the soloist with verse and a warm tone, with the concert master playing some counterparts commonly neglected in other performances. Another unique feature on this recording is that apart from the solo piano, there is a harpsichord playing continuo in the ensemble. The recording is well balanced and full of clarity. This set will bring fresh new delight and enjoyment for any Bach lovers.

Rough Guide: Australian Aboriginal Music

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Abo CD

Rough Guide: Australian Aboriginal Music
Various Artists
Manufacturer: World Music Network
ProductGroup: Music
Binding: Audio CD

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Rough Guide: Native American Music
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The Rough Guide to the Music of Central Asia
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The Rough Guide to the Music of Indonesia

ASIN: B00000IJQJ
Release Date: 2001-10-08

Tracks:

Saltwater - Dusty Legune & Campbell Allenbar
Kurongk Boy, Kurongk Girl - Ruby Hunter
Native Born - Archie Roach
Tjapukai Sunset - Tjapukai Dancers
Wongga Initiation Song - Rimijmara
Bullima - Mark Atkins
Kava Song - Waak Waak Jungi
Birth Songs - Mornington Island Dancers
Drag Net - Jimmy Murray
Heart Of My People - Tjapukai Dancers
Sik O - Christine Anu
Nyindi-Yindi - Arnhem Land
Buthamar - Budal Lardil
Celebration - Gapu
Bushfire - Alan Maralung
Black - David Page

Amazon.com

This collection of tribal, ambient, and folk music by Australia's aboriginal artists and tribes is an interesting snapshot of the various indigenous faces of Australia. Listeners will find much of the famed didgeridoo, sometimes as the cornerstone for tribal dreamtime rituals, sometimes leading the melodies in modern electronic pop music, sometimes setting the dark, ominous tone for ambient music. Highlights include Archie Roach's melodic folk tune "Native Born," a sweet lament about the loss of aboriginal land and culture; Gapu's "Celebration" with Rachel Nehanda Woods's lovely chant; and Ruby Hunter's "Kurongk Boy, Kurongk Girl." But make no mistake, the Rough Guide folks include enough traditional tribal chant to please those looking for authentic Australian aboriginal music. An excellent comprehensive introduction. --Karen Karleski

Customer Reviews:

Abo CD.......2006-03-01

This was the only "authentic" Aboriginal CD of the bunch. The others didn't include the folk music. Nice collection of music.

Rainbow Serpent: Music For Didgeridoo & Percussion

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Eerie and spiritually soothing!
One of my favorites
All David's work is excellent!
Very good playing; pioneer of didjeridu and percussion

Rainbow Serpent: Music For Didgeridoo & Percussion
David Hudson
Manufacturer: Celestial Harmonies
ProductGroup: Music
Binding: Audio CD

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Didgeridoo: Ancient Sounds of the Future
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ASIN: B0000007Y3
Release Date: 1994-09-01

Tracks:

Bali Doo
Message Stick
Undara's Lava Tube
Dreampipe Rhapsody
Laura's Festival
Kuranda Warrior
Leprechaun Corroboree
Frenzy
New Beginning

Album Description

Rainbow Serpent is one of the most important recordings of Australian Aboriginal music ever made. David Hudson, master of the Aboriginal instrument known as the didgeridoo, combines with long-time collaborator and producer, Steve Roach, to create music from a 50,000 year tradition which maintains its heart and soul in the setting of a modern digital recording studio.

Traditionally, the didgeridoo is capable of only one note, although numerous overtones of that note can be brought out and a wide variety of blowing techniques can sharply change the sound. In Rainbow Serpent, Hudson uses multiple didgeridoos, with simple percussion and some of Steve Roach's subtle digital processing, to create a unique recording that blends the most ancient musical sounds with the latest hi-tech sound devices.

Rainbow Serpent is clearly rooted in the Aboriginal tradition. Hudson uses the traditional technique of circular breathing to keep the flow of music continuous and to maintain its meditative state. In this technique, the player forces air out of his mouth while breathing in through the nose. The sound is punctuated by a repertoire of traditional grunts and cries, representing different animal spirits. This album is also the work of a contemporary musician and composer. Hudson uses original calls and vocalizing techniques to striking effect on Laura's Festival. Eerie, deep spatial effects are created by the combination of didgeridoo and digital reverb on Undara's Lava Tube; and in Leprechaun Corroboree, Hudson uses Celtic sounding percussion patterns as accompaniment.

Hudson's concluding piece is a spacey tour-de-force called New Beginning. Ringing harmonics, sweeping arcs of didgeridoos, and lonely bush sounds from Queensland, Australia, all inhabit the vast inner space of Steve Roach's digital studio environment. Rainbow Serpent is not a relic of ancient history, but a new Aboriginal music for the late 20th Century.

Customer Reviews:

Eerie and spiritually soothing!.......2000-10-19

David Hudson's "Rainbow Serpent" album is a performance that has to be experienced to be appreciated. As a beginning didjeridoo player, it's amazing and instructive to hear the various tonal webs that Mr. Hudson weaves to the listener. It's easy to imagine sitting around a communal fire in the Outback with the stars overhead and the eerie but strangely beautiful and haunting sounds of the didjeridoo tugging at your primal memory. Excellent!

One of my favorites.......1999-03-31

This CD along with "Ourimbah" are my two favorite Didgeridoo CD's.

All David's work is excellent!.......1998-10-18

Rainbow Serpent is up to his usual high standard. I will always buy anything he does. If you want to hear a didgeridoo played by a master, this CD is a must.

Very good playing; pioneer of didjeridu and percussion.......1998-06-13

David Hudson is one of the few players recorded who exhibits trance playing. His use of percussion is always complementary to the didjeridu and the pieces are exemplary of arrangements with integrity. This recording is a big influence on my playing.

Haydn: Complete Piano Concertos (Box Set)

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Haydn: Complete Piano Concertos (Box Set)

Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

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F.J. Haydn: Complete Violin Concertos
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ASIN: B0001TZZVY
Release Date: 2004-08-31

Music:

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