In the End-Live & Rare

in the end-live & rare

Track Listings

1. In the End [Album Version]

2. Papercut [Live at DocklandS Arena, London]

3. Points of Authority [Live at DocklandS Arena, London]

4. Place for My Head [Live at DocklandS Arena, London]

5. Step Up [1999 Demo]

6. My December

7. High Voltage

In the End Live and Rare,Linkin Park,Musicrama, Inc,Rock/Pop

In the End-Live & Rare

Average customer rating:

The songs stand on their own
Sounds Very Good
Nice remix but nothing outstanding
MY FAIR LADY SOUNDTRACK FINALLY GIVEN ITS DUE ON SACD

My Fair Lady

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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General | Soundtracks | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

My Fair Lady (1964 Film Soundtrack)
The King and I (1956 Film Soundtrack)
West Side Story
Camelot (1960 Original Broadway Cast)
South Pacific (1958 Film Soundtrack)

ASIN: B00005J9XS
Release Date: 2001-05-22

Tracks:

Overture
Why Can't the English? - Alan Jay Lerner,
Wouldn't It Be Loverly?
I'm an Ordinary Man
With a Little Bit of Luck
Just You Wait
Rain in Spain
I Could Have Danced All Night
Ascot Gavotte
On the Street Where You Live - Orchestra African Fiesta
You Did It - Rex Harrison, , Wilfried Hyde-White,
Get Me to the Church on Time
Hymn to Him - Isobel Elsom, Marni Nixon
Without You
I've Grown Accustomed to Her Face - Stanley Holloway
Embassy Waltz [*] - Marni Nixon
You Did It - Rex Harrison, Marni Nixon
Just You Wait (Reprise) - Rex Harrison
On the Street Where You Live (Reprise)
Show Me
Flower Market
Get Me to the Church on Time
Hymn to Him
Without You
I've Grown Accustomed to Her Face
End Titles
Exit Music

Customer Reviews:

The songs stand on their own.......2006-05-27

Many people can associate this sound track with the movie, "My Fair Lady" that was that is a film version of Bernard Shaw's play "Pygmalion". This is a classic musical with many well known songs by Lerner and Loewe.

However unlike many musicals the songs have a life of their own. Even though they matched the story perfectly, they are they type of songs that one could instantly blurt out in the thrill of the moment. I my self found that "On the Street Where you live" matched perfectly when I was in love in my youth.

Sounds Very Good.......2006-05-16

This album and CD format sound very good. I was quite pleased. THE RAIN IN SPAIN and ON THE STREET WHERE YOU LIVE are favorites of mine. I am glad this soundtrack got a top notch presentation. Well worth the wait.

Nice remix but nothing outstanding.......2004-03-06

After reading one review that gave this recording five stars I purchased it. Although it probably is a better recording than past CDs - don't expect the sound of a modern recording. A couple of the songs are very much clearer, but over-all I did not find this recording to be a revelation.

MY FAIR LADY SOUNDTRACK FINALLY GIVEN ITS DUE ON SACD.......2001-08-02

Warner Bros' 1964 film version of My Fair Lady, Lerner and Loewe's brilliant musical adaptation of Bernard Shaw's Pygmalion, is a genuine motion picture classic, fully worthy of all the awards and praise it has garnered since it's release nearly forty years ago.

My Fair Lady boasted a discrete 6 track stereophonic sound mix, which was state of the art for it's time and still probably sounds better than the majority of today's pictures.

This new SACD format CD offers the best sonic presentation of this soundtrack ever made available to the music buying public. With this release Sony has corrected a horrible injustice done to My Fair Lady in its previous CD. Gone is the sloppy editing of bits and pieces of meaningless dialogue excerpts and intrusive Foley effects, which served only to show the total lack of respect the producers had for these performances. While this SACD is not completely free of such tampering, this time the small amount of dialogue is beautifully edited and serves properly as lead in to the songs. Unlike the original LP release the extended versions of all the songs are presented here, along with The Embassy Waltz and the Entr'acte music.

I won't get into the debate over Audrey Hepburn's casting except to say that at this point in time Julie Andrews, although obviously a better singer than Hepburn and probably wonderful on the stage, could not have even come close to the level of brilliance displayed by Audrey Hepburn in this role on the screen.

Unfortunately precious little of Hepburn's superb performance is to be heard on this SACD, which leaves us with a debate over how Marni Nixon, Hepburn's vocal double, compares to Julie Andrews. Other than the fact that her Cockney accent is not so great, Nixon acquits herself quite admirably in the role, although I believe that Hepburn should have been allowed to do more of the singing with Nixon stepping in vocally when the going got rough, such as she did for Deborah Kerr in The King and I. But even so, Marni Nixon is arguably every bit as good a singer as Julie Andrews and performs the songs beautifully.

Add to that the fact that this soundtrack offers Rex Harrison's most polished performance of Professor Henry Higgins and since his songs were recorded live at the time of filming, there is a spontinenity in them lacking in the Broadway and particularly in the London Cast Recordings.

Stanley Holloway performs his songs with much more zest in this recording as well. But the greatest improvements over the original are the outstanding orchestral arrangements and conducting by Andre Previn assisted by Robert Tucker's excellent choral work. The brassy, puny orchestras and shrill choruses on all other recordings pale by comparison.

Still, the Original 1956 Broadway Cast Recording should be a part of any serious music lover's collection, if only to savor Julie Andrews' sterling vocal performance as the original Eliza Doolittle. The 1964 soundtrack reviewed here should be equally enjoyed on its own merits, as mentioned above, and for allowing one to hear in brilliant stereo sound a more complete and better orchestrated version of Lerner and Loewe's musical masterpiece.

Tracks:

Threshold Bells: St. Paul's
At the End of Time: St. Paul's
Evensong: Tallinn
Evensong Coda: Tallinn
At the End of Time: Broad Chalke
Evensong: Viljandi
Evensong Coda: Viljandi
Future Shift: Haapsalu
Evensong: Haapsalu
Evensong Coda: Haapsalu

Album Details

Churchscapes, as the Name Implies, is the Performance of Soundscapes in Churches and Cathedrals. The Choice of Venues is Deliberate. The Music is Informed by the Space Provided and Utilizes that Space in Return, the Intent of the Composer to Produce a Form of "Devotional Music" as "Personal Thanksgiving" as Mentioned in the Sleevenotes.

Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner

Average customer rating:

Very Good
Excellent Weill Alternative to Lenya and Lemper
Everything is right but the style
Intelligent reading from both singer and conductor
Brilliant--The best of the 7 Deadly Sins recordings

Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner
Kurt Weill , John Eliot Gardiner , Anne Sofie von Otter , Bengt Forsberg , Hannover North German Radio Orchestra , Karl-Heinz Lampe , Frederick Martin , Christfried Biebrach , and James Sims
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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For the Stars
Stratas Sings Weill
Teresa Stratas - The Unknown Kurt Weill
Sings Kurt Weill, Vol. 2
Anne Sofie von Otter - La Bonne Chanson

ASIN: B000001GM3
Release Date: 1995-03-14

Tracks:

Die Sieben Tods Prologue
Die Sieben Tods No. 1 Faulheit (Sloth)
Die Sieben Tods No. 2 Stolz (Pride)
Die Sieben Tods No. 4 Zorn (Anger)
Die Sieben Tods No. 5 Vrei (Gluttony)
Die Sieben Tods No. 6 Unzucht (Lust)
Die Sieben Tods No. 6 Habsucht (Avarice)
Die Sieben Tods No. 7 Neid (Envy)
Die Sieben Tods No. 8 Epilog
My Ship
One Life To Live
Buddy On The Nightshift
Nannas Leid
Bilbao - Song
Surabaya - Johnny
Das Leid Von Der Harten Nuss
Je Ne T'amie Pas
Schickelgruber
Der Abscheidsbreief
Foolish Heart
Speak Low
I'm A Stranger Here Myself

Amazon.com

Kurt Weill's ballet with songs is one of this century's greatest theatrical works. It has all the wit and melodic appeal of The Threepenny Opera and social conscience of Mahagonny, but more warmth and musical sophistication than either. It's also all over with in about 40 minutes. Some critics believe the piece was intended as a sort of love poem to Weill's wife, Lotte Lenya; given the tenderness of much of the music, it's hard to disagree. Lenya herself recorded the piece in the 1950s (a recording recently reissued by Sony) and this very much newer performance is welcome particularly for Anne Sofie von Otter's highly intelligent and musical way with the text. The other songs, from both Weill's Berlin and Broadway periods, make the perfect filler. --David Hurwitz

Customer Reviews:

Very Good.......2006-01-03

This is a very nice selection of Weill pieces showing the full range of his output. These range from the ambitious Seven Deadly Sins to songs from Happy End to some of his Broadway work. All are very interesting. The performers, particularly Von Otter, are excellent. Recommended strongly.

Excellent Weill Alternative to Lenya and Lemper.......2005-09-29

`Speak Low Songs by Kurt Weill' is a great addition to the performances of Herr Weill's works by the prominent mezzo-soprano, Anne Sofie Von Otter. I have listened to many performances by Weill specialists from the archetype, Weill's wife, Lotte Lenys, for whom many of the songs were originally written to Ute Lemper and Gisela May, who lean heavily toward Lotte Lenya's gravel-voiced interpretation of Weill's songs.

Anne Sofie Von Otter breaks with this tradition and gives us what are easily the sweetest interpretations of Weill's songs from both his German and English works, which I have heard anywhere.

The flagship performance on this disc is `Die Sieben Todsunden' (`The Seven Deadly Sins') which was a cycle of songs to be sung on the stage, accompanied by dances done by a second performer. This takes the first nine (9) tracks and is at least as good as what I have heard from Weill specialist, Lemper. This album is the first time I have noticed that there are two versions of this work, and that Ms. Von Otter is performing the version for soprano.

But, I think the most moving performances come later, especially in von Otter's performances of the three numbers from `Happy End', `Bilbao-Song', `Surabaya-Johnny', and `Das Lied von der harten Nuss' (Song of the Big Shot). I have heard these done by many people, but never so sweetly. These numbers are so lovingly performed that I insist that you ignore the fact that the lyrics are in German. The accompanying booklet gives English translations, which I simply ignore and enjoy the musical talent with no filter. My understanding German has nothing to do with this, as I do the same with French, which I can just barely make out.

Kurt Weill may not be the most important influence on American musical theatre in the 20th century, but he is easily in the top five, along with the Gershwins, Irving Berlin, Richard Rodgers and collaborators, and Cole Porter.

Ms. Von Otter is ably accompanied on this disk by her favorite pianist, Bengt Forsberg plus the Norddeutch Rundfunk orchestra directed by John Eliot Gardiner. While I really like her selection on this disk, the collection makes me wish Ms. Von Otter would do some more Weill and spend less time hanging out with Elvis Costello, but that's a different story.

Everything is right but the style.......2005-09-24

Weill and Brecht defined a nasty age with nasty art, writing some of the grittiest satire in the history of music. In this CD von Otter misses that edge, skirts all the dangerous, sleazy implications, and ultimately sounds too much the opera singer slumming it for an hour. Her earnestness is no subtitute for the right period style, a la Lotte Lenya.

Intelligent reading from both singer and conductor.......2005-01-27

THE SEVEN DEADLY SINS is such a brilliant mini-masterpiece (and, to me, the pinnacle of the Brecht-Weill years) that it is hard to screw up. It is a testament to the staying power of this work (and to the brilliance of Weill's music in general) that it can be performed by the likes of Lotte Lenya, Julia Migenes, Ute Lemper, Judy Kaye, Marianne Faithfull, Teresa Stratas, and -- as here -- Anne Sofie von Otter, and STILL work... and EACH of these women are totally successful in the piece on their own terms.

Here, Anne Sofie von Otter gives us an intelligent (and highly musical) rendering of the text, keeping the musical line very much intact. She sings with vibrato at times, and then will turn around and use straight-tones at moments where it is dramatically appropriate to do so. She balances the performance well, shifting gears between cool detachment (which she is often criticized for) and impassioned outbursts (which her critics often fail to notice).

John Eliot Gardiner surprised me with how easily this music seemed to come to him, especially as he seems to be a man more at home with "Period-Instrument-Mozart" than highly charged 20th century works. However, his reading of "The Rake's Progress" by Stravinsky was totally staggering. For example, his choice beginning the climactic moment of the score ("Envy") as slowly as he does caught me very much off guard at first, and I didn't really care for it at all. However, with each successive listen, I find myself "getting" this choice more and more.

Finally, the "filler." As to be expected, she is more successful with the European material than she is with the songs from Weill's Broadway years. But this is the case with about 99.9% of all opera singers who try to sing Weill's Broadway scores. You will never hear any singer give "Je ne t'aime pas" a more hauntingly beautiful, passionately intense performance than Anne Sofie von Otter. Truly, the ultimate interpretation of one of my favorite Weill songs. "Nannas Lied," "Der Abschiedsbrief," and the HAPPY END selections. However, "My Ship" and "One Life to Live" seem to fail at catching fire -- the former because it is marred by an attempt to sound like a "pop singer," the latter because von Otter sings English better than native speakers (she knows where the ACTUAL emphasis in the phrase "nothing: the thing is to have fun" goes, as opposed to where Ira Gershwin placed it). I also -- surprisingly enough -- don't care for her performance of "Schickelgruber" -- she just seems totally lost to me. (I really think that this song is foreign territory to 'legit' sopranos and mezzos -- I don't even care for the Stratas rendition.) Just when I thought I would have to suffer through another bad batch of "opera-crossover," Anne Sofie turned around and surprised me by giving highly successful performances of the numbers from ONE TOUCH OF VENUS (especially on "I'm Stranger Here Myself").

All in all, a worthy purchase: highly recommended to all fans of THE SEVEN DEADLY SINS and Kurt Weill enthusiasts.

Brilliant--The best of the 7 Deadly Sins recordings.......2002-10-12

Weill, and particularly anything Brecht-Weill, has suffered for too long with interpertations based on tired ham theatrics, burlesques of Lenya's style, to the point where we have come to expect it as the only way to sing this music. Lenya herself is said, late in life, to have commented that a better singer (specifically Stratas at that time) would be more appropriate for properly interpreting Weill's music.

Here, after countless CD releases of the Seven Deadly Sins, is the first recording sung in the key the composer originally intended! The result is relevatory, sublime and magnificent.

Ms. Von Otter interprets the rest of the songs with mixed results--all are lovely, several are excellent, though several others have been handled better by singers with more "theatrical" talents. Nevertheless, this recording stands alone, head and shoulders above the others.

Average customer rating:

Her voice is every color of dream
Stratas is sublime
It is dangerous to use words like "definative," but....
Amazing
The One

Stratas Sings Weill

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Sings Kurt Weill, Vol. 2

ASIN: B000005IXU
Release Date: 1991-06-25

Tracks:

One Touch of Venus: I'm A Stranger Here Myself
Ausfstieg und Fall der Stadt Mahagonny: Havanna - Lied
Happy End: Surabaya-Johnny
One Touch of Venus: Foolish Heart
Der Silbersee: Ich bin eine arme Verwandre (Fennimore's Song)
Lady In The Dark: One Life To Live
Marie Galante: J'attends un navire
Happy End: Das Lied von der harten Nuss
Street Scene: Lonely House
Marie Galante: Le Roi d'Aquitaine
Ausfstieg und Fall der Stadt Mahagonny: Denn wie man sich bettet
Marie Galante: Le Train du ciel
Die Dreigroschenoper: Das Lied von der Untulanglichkeit menschlichen Strebens
Knickerbocker Holiday: It Never Was You
Happy End: Der kleine Leutnant des lieben Gotten

Amazon.com

Revealing an affinity for Weill, Teresa Stratas fulfills her promise to Lotte Lenya on her deathbed to "carry on the torch for Kurt Weill's music." Stratas's glorious soprano has never sounded better as she applies her operatic expertise to deliciously caress this music without losing any of the underlying subtext. Lacking the grittiness of other interpreters, she captures the emotional angles by letting her beautiful voice express the tortured heart beneath it; where others shout at you, Stratas sings at you. She casually bounces off the cheerier selections from One Touch of Venus and Happy End, letting Gerard Schwarz's brilliantly conducted orchestra display their wit. Program notes include a fascinating interview with Stratas. --Barbara Eisner Bayer

Customer Reviews:

Her voice is every color of dream.......2005-12-03

I don't care who knows it--I've been in love with Teresa Stratas since I was a senior in high school and saw her as Mimi in La Boheme one Friday night in 1961. That obsession preceded and outlasted my marriage:-). I lost a lot of years away from opera, then discovered that Stratas' recorded output is shamefully small. A difficult performer, probably, renowned for some unendearing quirks. But. What's there is gold. I have heard recordings I should not of her as Suor Angelica, Butterfly, and Melisande. I have seen her famous Zefirelli Boheme and Traviata. And Amahl. But the Weill material...it's unbelievable. When Lenya "ordained" her as her successor after seeing a performance of Mahagonny, the old lady knew what she was doing. Stratas has the perfect temperament for Weill's music. The voice coos, snarls, belts, and weeps. My favorite of all Weill songs, "Surabaya Johnny," is a mini-drama of love, hate, rage and despair. The only person who comes close to her in that song is the late Cathy Berberian.

Yes, get this. Get "The Unknown Kurt Weill." Lobby the Met to release her broadcasts, esp. The Bartered Bride. She was absolutely magnetic and the field isn't quite gone yet.

Stratas is sublime.......2005-03-27

Teresa Stratas is one of those singers whose reputation as a temperamental diva precedes her. Well, in my book, if it takes being temperamental to accomplish a collection like this, the end justifies the means. She is a singer of tremendous vocal and emotional range, and Weill's music provides what seems to be a perfect vehicle for both.

I've had this CD for at least 12 or 13 years and, no matter how many times I listen, I still notice new details in her interpretations.

It is dangerous to use words like "definative," but...........2004-04-04

Stratas's interpretations make one rush headlong into that danger.

Many singers have done beautiful Surabaya Johnnys but have any been as shattering as Stratas? Though years later she stumbled with her ill-concieved and eccentric Seven Deadly Sins, this CD is Stratas at in her prime, making bold choices about the material that blows the cobwebs off song we thought we knew. Even 15 years later, this album is fresh, uncliched, deeply affecting, and enthralling.

Stratas proves herself not only a great singer, but a great actress as well.

Amazing.......2000-06-29

Until I heard this and the Unknown Weill, I was a "stranger myself here,' as Stratas sings in the first selection. I simply did not appreciate nor understand the immediacy and importance of Weill to our musical heritage. Stratas simply transcends and reveals this music so intuitively that it is amazing.

The One.......2000-06-01

Stratas is the Weill singer, and everyone else is an also-ran. Ute Lemper is just a poser, and while Lenya was an important figure for Weill and she has her charms, but Weill wanted trained, operatic voices to sing his music, but not in the style of Verdi or Mozart. Here, Stratas delivers the composer's wish. Her voice is beautiful and cultivated in the best way, but it is her manner that is so important; straightforward, sincere, artless. From the opening "I'm a Stranger Here Myself" her affinity for this music is fully apparent. The selections span Weill's career and are delivered in many English, French and German, and regardless of the language, Stratas communicates completely. The orchestra plays the original orchestrations, and the sound is simply wonderful, nostalgic and modern all at once. This is where all Weill listeners and lovers should start.

Average customer rating:

The penultimate collection ...
Muisic of the Spheres
The Ulllllltimate Sci-Fi Music Collection
SciFi Album gift
Away From to be a Collectible Peace

The Science Fiction Album
Various Artists
Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Movie Soundtracks | Soundtracks | Styles | Music

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The Science Fiction Album, Vol. 1
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Sci-Fi Channel - Sci-Fi's Greatest Hits, Vol. 4: Defenders Of Justice
Fantastic Journey
Sci-Fi Channel - Sci-Fi's Greatest Hits, Vol. 2: The Dark Side

ASIN: B000066HE5
Release Date: 2005-02-08

Tracks:

2001: A Space Odyssey
Aliens
Sound Effect - The Nostromo
Alien
A.I.
Armageddon
Sound Effect - Apollo 13 Lift-off
Apollo 13
Back To The Future
Battle Beyond The Stars
Battlestar Galactica
The Black Hole
Contact
Capricorn One
Close Encounters of the Third Kind
The Day The Earth Stood Still
Dune

Tracks:

Galaxy Quest
Sound Effect - Dogfight in Space
Enemy Mine
Ghostbusters
Gremlins
Heavy Metal
Independence Day
E.T.
Judge Dredd
The Last Starfighter
Lifeforce
Sound Effect - Crash Landing
Lost In Space
Mars Attacks
The Matrix
Predator
The Right Stuff

Tracks:

Moonraker
Robocop
Silent Running
Sound Effect - Alien Organism
Species
Stargate
Starship Troopers
Starman
Star Trek - TV Theme
Star Trek: The Motion Picture End Title
Klingon Attack
Sound Effect - Warp Drive
Star Trek II: The Wrath of Khan
Star Trek: Deep Space Nine
Star Trek: Generations
Star Trek IV: The Voyage Home

Tracks:

Star Trek VI: The Undiscovered Country
Sound Effect - Transporter Crew
Star Trek: Deep Space Nine - Main Theme
Star Trek First Contact
Star Wars
The Empire Strikes Back
The Empire Strikes Back
Return of the Jedi
Sound Effect - Battle Stations
Star Wars Episode 1: The Phantom Menace - The Flag Parade
Anakin's Theme
The Adventures of Jar Jar
Duel of the Fates
The Time Machine
Things to Come
The Thing From Another World
War of the Worlds
When Worlds Collide
Total Recall
You Only Live Twice
Superman

Customer Reviews:

The penultimate collection ..........2006-12-07

Generally I agree with Strategos in his ecstatic Spotlight Review above. It is a joy to here some of the most memorable themes and cues from some of the most memorable science fiction and fantasy movies (re)recorded in great sound and in lavish (re)orchestrations, played by renowned classical orchestras, namely the City of Prague Philharmonic Orchestra, the Royal Philharmonic Concert Orchestra and the Philharmonia Orchestra, no less.

I have always had a weak spot for (good, or maybe even intelligent) science fiction/fantasy and film music, especially its way of evoking mystery, grandure and wide open spaces. Call it a weakness if you want. But it was maybe really kick started off, for as far as I can remember, with Star Trek. But especially Star Trek II, III and IV - essentially a trilogy - because of their very romantic but very warm, human core, set on the broadest canvasses of unlimited and mysterious outer space. But then there was the music for adding that essential extra dimension of emotion and atmosphere. I am happy that much of the music on this album is from the Star Trek series and films, often equaling or sometimes even outclassing the original recordings.

This kind of music (for the movies) should be seen as an art on its own rights with its own merits and qualities. As such, the musical sequences on these CD's are a beautifully played cross section of some of the most evoking orchestral music for science fiction/fantasy film ever created. And I very much like the nicely blended, wide and deep orchestral soundpicture with enough reverberation to evoke a sense of wide open spaces.
I am quite thrilled by tracks like the evocative music from Dune, truly transporting one to the vastly sands of Arrakis (the music is wonderful, but to my great regret I think the movie itself is a flawed masterpiece at best, alas.). And then there is the very different, goofy music for Ghostbusters (memories of childhood), the spoofy but electrifying music from Mars Attacks (lovingly parodist music, this, with not a little touch of irony) and the happily adventurous, forward driving Theme from Galaxy Quest ('Never give up, never surrender!'), now also used for the internet-based fan-series Star Trek: The Hidden Frontier. On the other side of the spectrum we have the atmospheric music for Enemy Mine (an underestimated 'little' movie), the Theme from The Right Stuff (actually science FACT, not fiction, this film, just like Apollo 13, of course), the eerily attractive music for Species, the original End Title for Alien (not used in the theatrical version of the movie, where it was replaced by music from howard Hanson's Second Symphony), the exquisitely exotic music for Stargate, the sweet and warmly sympathetic, beautifully re-orchestrated, theme for Starman, the title cue for Star Trek: TOS (much more melodiously played than the original! If only a series nowadays could continue to be as thought provoking and as original as Star Trek was during its launch, fourty years ago ...) and a truly overpowering End Titles Suite from Star Trek VI: The Undiscovered Country. I especially like the thrillingly grandiloquent rendition here of the music for Star Trek II: The Wrath of Khan. And how nice it is to hear the (thematic) similarities between James Horner's music for The Wrath of Khan, his great break-through as a film music composer, and his (two years) earlier music for Battle Beyond the Stars (which did indeed help him earn the job for writing the music for Star Trek II) ...

But on the 'down side', if one is looking for - for example - the gorgeously expansively played End Titles from Cocoon, it is not included here: one has to acquire the album that 'kicked it all off', so to say, namely 'Space and Beyond', also on Silva Screen. I was very pleased also with the inclusion on that album of some of the music from the series Star Trek: The Next Generation, namely where one of the characters, Tasha Yar, in one of the episodes (Skin of Evil) is saying goodbye to her crewmmates: sweetly sentimental and simple music which I have always wanted to own on CD. I guess that a few cues from the other two sequals ('Alien Invasion: Space and Beyond II' and 'Space3: Beyond the Final Frontier') didn't make it onto this 4 CD collection-album as well, but I guess that it would be the 'better part of the bargain' to opt to buy this 'The Science Fiction Album' instead of buying all three albums separately. Well, of course it is for yourself to ultimately decide what you really want ;-)

If I were to nitpick (which is not easy with such a marvellous project as this one), then I would say that while all music is performed with magnificent grandure and with style, some of it is not performed as crisply and as technically 'on the spot' as some of the original recordings: ensemble is a little slack and the playing somewhat stilted sometimes, losing some of the edge and the originality of the writing. ET and Star Wars spring to mind, but then the soundtracks for Star Wars are traditionally recorded with the magnificent London Symphony Orchestra, conducted by maestro John Williams himself, and these superior recordings (especially the ones for Episode I, II and III) can't really be bettered, IMHO. Likewise for the music from Star Trek: The Motion Picture, I believe that in the end one really has to resort to the ultimate reference, namely the original recording (which is true in many other instances of 'original recordings'), and then the 20th anniversay colector's edition of this soundtrack on Columbia/Legacy (truly unmissable, this veritable classic of sci-fi/film music soundtracks!).

But all in all this 4CD-collection amounts to probably being the penultimate high quality sci-fi music album collection (I certainly know of no other project that comes as close quality as well as quantity wise), with some of the most memorable musical moments from classic to modern sci-fi/fantasy film captured in lavish orchestrations.
Collection-wise: five *stars*. Playing: generally four *stars*, sometimes more. The recording quality: five *stars*. The music (qualified on its own merits as film music) and its (re)orchestrations: generally five *stars*. In the end this is all highly recommended, and certainly not to be missed by science fiction and fantasy film music fans. Klaatu barada nikto.

Muisic of the Spheres.......2006-11-06

You wonderful four disk collection of SF music. It startsa up the the grand master of SF music, 2001: A space Odyssey all the way to Superman. This is all American SF music and several themes I would have liked to have included are not there. All in all though, a collection you will enjoy.

The Ulllllltimate Sci-Fi Music Collection.......2005-10-23

If one person gives great gifts, it's the illustrious Codemaster Talon. I've received a fair number of gifts in my lifetime, but so far, my older sister's take the cake. Take this one for instance. I'm real big on orchestral music, to the point where I listen to them more than any other kind of music. I've got orchestral versions of video game themes, orchestral soundtracks to truck-loads of anime shows (Big O, Escaflowne, and Giant Robo are incredible), and could probably spend the rest of my life just trying to study the nuances of all the classical music I've got. Being such a huge fan of orchestral music, I also have come to believe that orchestra music produced for movies and television is the new classical music (or as someone once said, Mozart would be making music for movies if he were alive today). Being a huge sci-fi fan, that kind of music has always been particularly near and dear to my heart. But were I to buy each and every soundtrack for every sci-fi I liked it would cost quite a bundle, and would include a lot of sub-par music along with the grandiose and fantastic main and memorable themes. That's where this beauty comes in.

The moment I ripped off the shrink-wrap and popped it into my cd player was a moment of great trepidation. Believe me when I tell that I've seen my fair share of sub-par orchestral recording in my lifetime. Very often they are in those big super-packs of music, and suffer from poor direction, improper mastering, and sometime even pathetic orchestration (or worse yet have something sounding like a cheap synthesizer and a kazoo in place of a full orchestra). I needn't have worried though. This sucker is fantastic.

Many people who are not audiophiles will probably miss the point of this cd collection. It is not the original versions of the pieces. It is re-orchestrations, mostly by the phenomenal Prague Symphony Orchestra. Many of these themes didn't sound all that hot in there original versions because they were low budget films or were not recorded in high-fidelity. Here they are given the full treatment, mastered with the most loving care imaginable. Often the version found in these cds is SUPERIOR to the original.

Remember the theme from 2001: A Space Odyssey? Of course you do. But how many times have you heard a cheap imitation of the original version from the movie, starting too low in volume and ending too high (and missing the essential pipe-organ that gives it that extra oomph)? Well, this first track in the entire collection is not only everything it should be instrumental and timing-wise, but it also has been oh-so-carefully adjusted during the mastering process so that at no time is the music either too low or too high in volume (surely a benchmark for every other recording ever to be made of the piece).

Or what about the theme from the (at-the-time) uber-creepy The Black Hole? The orchestration of this piece of music goes from tiumphant to terrifying and back again, with a splendor and cleanness that I CERTAINLY don't remember being in the original recording.

Then there's the new version of the theme from Independence Day, complete with a violin solo, a far more electrifying ending climax, and a chorus so thunderous that you feel like applauding at the end. Simply indescribable. Kind of like the MIND-BLOWING rendition of the theme from The Last Star Fighter. This has been one of my favorite themes for a long time now, but I've never heard it played like this. I think the original version of the theme is something like 1 minute long, but this new version doesn't just fade out (HAHAHAHA!!!!) THIS version is THREE minutes long, goes through the main theme THREE times, with the final strains being so triumphant and joyous I could not help but feel an electrifying charge the first dozen or so times (come to think of it, I still feel that way). This is superior to the original in EVERY way. AWESOME.

And let's not forget the incredible new rendition of Stargate with it's heavy use of clarinets (for Egyptian effect!) and a triumphant new ending (completely lacking the chanting from the original version. This version is so different that for the first minute it is very hard to tell that it is in fact Stargate. But then the main theme kicks in, and then you get this incredible flute solo for my favorite part of theme (the whole thing is played slower, but arguably more powerfully than the original). My goodness. At first I found the thing so different I didn't like it. But then I listened to it again. And again. And again.

I could go on and on, talking about the fantastic new rendition of Moon Raker, the ear-popping Battlestar Galactica, the classic Star Trek (First Contact has a minute or two of the theme from Star Trek:The Motion Picture before going into the main theme), or the sweet renditions of music from the Star Wars movies (or the music from E.T.).

I have to mention though that this collection was not picked based merely on what people want, or on what is popular. No, the people who made it obviously thought a GOOD music collection was better than a popular one. That's why you get a heartbreakingly beautiful theme from A.I. instead of the main theme. It's why you get music from movies that you probably never gave a second thought to the music (because the movie was lousy). It's why you get Armageddon, Judge Dredd, and Robocop (who would have guessed their music was so COOL when there was all that crazy action and bad-acting going on on-screen).

I said it before and I'll say it again. This cd-set was mastered with tender-loving-care, and it shows BIG-TIME. High-fidelity the likes of which I have not seen since the days when cds were brand-new in the world. Dolby Surround. Perfectly balanced. BEAUTIUFL orchestrations. About the only thing that makes me scratch my head is the weird sound-effect tracks (Oooookay.....). Other than that, it's PERFECT. Obviously they could not include every sci-fi theme ever (no one can), but this collection is REALLY GOOD. A lot of great themes that got away (forgotten gems :), new versions of old favorites, and under-appreciated classics aplenty, but ALWAYS the full and complete versions with nothing cut-out (the theme from Dune is quite extended).

If you love movie music (and sci-fi movie music in particular) you MUST buy this awesome collection). It is not the original recordings. Almost always the new ones are better (if they aren't better they're just equal). This is what you have been waiting for. I for one am going to be buying quite a few cds from this company in the future. Give your ears the treat they deserve. Buy it NOW.

SciFi Album gift.......2005-07-20

I bought the Science Fiction Album as a gift for my son who is twenty-one years old. He is a musician, and also a huge fan of many SciFi shows and movies. I thought this would be the perfect thing for him and I was right. He loves it!

Away From to be a Collectible Peace.......2004-12-16

If you like Sci-Fi movies and want a compilation of their important scores, this is the CD-set to buy. But let me warn you about that very few songs in the cds are from the original soundtracks. Most of them is re-recorded by The City of Prague Philharmonic Orchestra. But the sound quality of cds are very good, because they have HDCD and Dolby Surround labels. This set is away from to be a collectible peace, but it is a good general compilation of favorite Sci-Fi movie scores.

Average customer rating:

A true, enduring masterpiece!

The Egyptian

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

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ASIN: B0006SSPX0
Release Date: 2005-01-11

Tracks:

Prelude/The Ruins
Crocodile Inn/Thebes
Chant for Dead Pharaoh
Chariot Ride/Pursuit/Akhnaton/Put Them in Chains
Throne Room
Taia
Party's End/The Offering/The Harp Player
Deed/The Harp and Couch
Perfection of Love/Violence
House of the Dead/The Burial
Valley of the Kings
Homecoming
Hymn to Aton
Nefer's Farewell/Sights, Sounds and Smells
You've Been in My Prayers
Live for Our Son [From "The Egyptian"]
Am I Mad?
Princess/The True Pharaoh/The Tomb
Danse Macabre
Death of Merit
Death Potion
Death of Akhnaton
I Am Pharaoh/Horemheb's Victorious Entrance
Exile and Death

Customer Reviews:

A true, enduring masterpiece!.......2005-09-01

There have been many milestones in film music history that have resonated through the decades finding new audiences and inspiring new recordings.

Unique among them is "The Egyptian," a major collaboration between uber-composers Bernard Herrmann (to whom the film was assigned) and Alfred Newman (20th Century-Fox Music Department head and all-time great composer/conductor). While Herrmann got the initial assignment, the allotted time was inadequate for him to do justice to the film. Newman stepped in and developed thematic materials which Herrmann incorporated into his own desginated sections of the film, while Newman the rest.

In my opinion, "The Egyptian" -- as a film -- stands well above most epics of the 50s, but it has some serious detractors who, for whatever reasons, find no value in the authentic atmosphere, fantastic sets, stunning cinematography and brilliant music underscoring. Add to that some solid performances from Victor Mature, Jean Simmons, Peter Ustinov and Michael Wilding (plus a stolid, if uninvolving leading performance by Edmund Purdom) and you really get a stunning piece of entertainment that holds the attention, dazzles the eyes and ears and becomes emotionally involving. Wilding, as the pharaoh, has the film's -- and one of filmdom's -- best moments near the end of the film. Newman's underscoring for that scene -- called "Death of Akhnaton" -- is an example of what film scoring is all about. It also heightens awareness of what seems to be missing from many of today's film composers resumes -- intensive education in music theory, counterpoint, harmony and exposure to all forms of music. The scene is breathtaking, heartbreakingly performed and musically overwhelming, although the music is always "under" the scene rather than rampaging over it.

There are so many wonderful pieces of music in this film that I acknowledge my inadequacy to present a case for them. The proof is in the listening. From the awe-inspiring opening to the exquisite theme for "Merit" to the sinuous, hypnotic theme for "Nefer", Herrmann and Newman have created a musical palette of stunning splendors. There is no other soundtrack album like it.

I cannot overstate its importance, the splendiferousness of its performance on this recording by the 20th Century-Fox Studio Orchestra as conducted by Alfred Newman, and the glorious choral work of Newman's right-hand man, Ken Darby.

This is film music history. Any collection without it is hollow.

Average customer rating:

NOT CARPENTER'S ORIGINAL SCORE...IT'S A HACK JOB...
not for fans of carpenter's scores
Essential what?
AVOID THIS IMITATION GARBAGE!!!!! FAKE CARPENTER
"absolute in capturing the original scores"

The Essential John Carpenter: Halloween
John Carpenter
Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Movie Soundtracks | Soundtracks | Styles | Music

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Halloween II
Halloween (Divimax 25th Anniversary Edition)

ASIN: B00006JTG2
Release Date: 2002-10-22

Tracks:

Escape From New York: Main Title (Mix 1)
Halloween: Theme (Mix 1)
Halloween: Haunted House
Starman: End Titles
Big Trouble In Little China: Pork Chop Express
The Fog
Assault On Precinct 13: Main Title
Assault On Precinct 13: Julie's Theme
Christine: Bad To The Bone
Halloween II: Main Theme
The Thing
Dark Star
They Live
Prince Of Darkness
Escape From New York: Main Title (Mix 2)
Halloween: Theme (Mix 2)
Village Of The Damned
Starman: End Titles (Symphonic Version)

Customer Reviews:

NOT CARPENTER'S ORIGINAL SCORE...IT'S A HACK JOB..........2005-12-04

What a piece of ****. Do not buy this worthless CD. If you are a fan of John Carpenter's scores, you will not like this. Don't waste your money like I did...And the only reason it got one star is because you can't give it any less!

not for fans of carpenter's scores.......2004-12-03

like other reviewers said, this is someone else playing those classic carpenter tunes. sometimes it sounds like elevator music. unfortunately, the cover doesn't say anything about this piece of work...

Essential what?.......2003-07-08

As the previous reviewer noted, nowhere on this CD does it indicate that the 'Essential John Carpenter' is someone re-recording all of the famous cues. Naturally all the info is on the inside.

And the disc? I don't see the point in bothering. They might as well make Assault on Precinct 13, Dark Star, and They Live (which pretty much don't have scores in print anymore) available again, even if they have to combine a couple to make one disc.

Carpenter does not use orchestras or elaborate bands for his scores. He does most of it himself and that makes another Carpenter collection simple. It's not difficult to play the notes, but everything is just slightly off and after a while you wonder what's the point.

This is NOT the music from the Carpenter films you love. This is someone playing that music. Assault on Precinct 13, which provides most of the attraction of this pretty worthless disc, sounds lousy and has none of the life of the throbbing synth of the original. Not only that, but they have the nerve to throw in two (2) cues from Starman, a Carpenter film that he didn't do his own music for(!) Instead the disc is broken by the Jerry Goldsmith pieces that sound NOTHING like anything Carpenter has done. It's bad--it belongs elsewhere, namely the Starman soundtrack which is still in print.

Stay away from this thing. It's a ripoff, another attempt to cash in on a name without providing any real product.

AVOID THIS IMITATION GARBAGE!!!!! FAKE CARPENTER.......2003-06-25

These jerks did a great job hiding the fact that these tracks are re-recorded by some schlep. Avoid this lame piece of garbage at all costs. The tones are totally wrong, it sounds very little like the genius originals. I bought this to get some of the Assault on Precinct 13 stuff, and was horrified to find that everything had been re-recorded. THIS IS NOT MENTIONED ON THE OUTER PACKAGING IN ANY WAY!!! You would never know until you open it and read the liners. Shame on these bastards for trying to dupe and rip people off. AVOID THIS [STUFF]!!!

"absolute in capturing the original scores".......2002-12-03

Hats off to Gareth Williams, James Fitzpatrick and Silva Screen Records for this venture into the world of John Carpenter. Silva has done a masterful job of recreating the feel of the original Carpenter film scores. This awesome compilation of "great thriller music" sends chills up our spines from composers Ennio Morricone, Jack Nitzsche, Dave Davies, Alan Howarth and of course John Carpenter. Each selection is arranged and performed with plenty of suspense dating back to 1974, which gave the audience a supernatural and imaginative fright. Each score paints the mood for every cue, which writer, producer and director Carpenter required...and then some.

Each score takes on a life of its own away from the film. If you've never seen any of the films, your imagination plays a key role interpreting what our legendary director/composer has up his sleeve when writing and directing the music. Entire album is a stand out ~ this one's for Carpenter and Silva fans alike, a collection for the first time with tremendours power and immediacy of each cue can now be heard. With Dolby Digital Surround Sound Recordings...this is a must have for your collection. All "film-score-buffs" beware, this is guranteed to give your goosebumps on the very first track, gotta love it!

Tracks:

The Threepenny Opr: Mack The Knife - Harald Paulsen With Orch
The Threepenny Opr: Cannon Song - Harald Paulsen With Orch
The Threepenny Opr: Pirate Jenny - Lotte Lenya With The Lewis Ruth Band/Theo Mackeben
The Threepenny Opr: Babarasong - Lotte Lenya With The Lewis Ruth Band/Theo Mackeben
The Threepenny Opr: Lied Von Der Unzulanglichkeit Menslichen Strebens - Bertolt Brecht With Theo Mackeben And His Orch
Happy End: Mandalay Song - Lewis Ruth Band
Happy End: Surabaya Johnny - Lotte Lenya With Pno
Rise And Fall Of The City Of Mahagonny: Moon Of Alabama - Lotte Lenya With The Three Admirals And Orch
Rise And Fall Of The City Of Mahagonny: Denn Wie Man Sich Bettet - Lotte Lenya With Pno
Knickerbocker Holiday: September Song - Walter Huston With Orch/Maurice Abravanel
Knickerbocker Holiday: There's Nowhere To Go But Up - David Brooks With Orch/Maurice Abravanel
Knickerbocker Holiday: The Scars - Walter Huston With Orch/Maurice Abravanel
Lady In The Dark: One Life To Live - Gertrude Lawrence With Orch/Leonard Joy
Lady In The Dark: The Princess Of Pure Delight - Danny Kaye With Orchestra/Maurice Abravanel
Lady In The Dark: And Other Russians - Danny Kaye With Chor And Orch/Maurice Abravanel
Lady In The Dark: The Saga Of Jenny - Gertrude Lawrence With Chor And Orch/Leonard Joy
Lady In The Dark: My Ship - Gertrude Lawrence With Chor And Orch/Leonard Joy
One Touch Of Venus: I'm A Stranger Here Myself - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Westwind - Kenny Baker With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Foolish Heart - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Speak Low - Mary Martin/Kenny Baker With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: That's Him - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
Ulysses Africanus: Lost In The Stars - Walter Huston With Orch/Victor Young
Ulysses Africanus: Lover Man - Lotte Lenya With Pno
One Touch Of Venus: Very, Very, Very - Kurt Weill
One Touch Of Venus: Wooden Wedding - Kurt Weill
One Touch Of Venus: Jersey Plonk - Kurt Weill
One Touch Of Venus: The Trouble With Women - Kurt Weill

Average customer rating:

Linkin Park - #1
Great
LP is GREAT, but the live audio on this CD is terrible
Nothing New but...
Interesting, but not worth the money

In the End: Live & Rare
Linkin Park
Manufacturer: Japanese Import
ProductGroup: Music
Binding: Audio CD

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Maximum Linkin Park
Crawling
Somewhere I Belong
Reanimation
From the Inside

ASIN: B00005UDEM
Release Date: 2002-03-27

Tracks:

In the End [Album Version]
Papercut [Live at DocklandS Arena, London]
Points of Authority [Live at DocklandS Arena, London]
Place for My Head [Live at DocklandS Arena, London]
Step Up [1999 Demo]
My December
High Voltage

Album Description

Japanese exclusive mini album featuring seven tracks, 'In The End', 'Papercut' (live), 'Points of Authority' (live), 'A Place For My Head' (live), 'Step Up' (1999 demo), 'My December' & 'High Voltage'. 2002.

Album Details

Japanese exclusive 7 track EP featuring live tracks & B-sides.

Customer Reviews:

Linkin Park - #1.......2005-04-15

If you're a Linkin Park fan you must get this cd. I accidentaly came across this one and I totally loved it. This cd offers 3 live songs (Papercut, Points Of Authority & A Place For My Head), album version of In The End and 3 b-side songs (Step Up, My December & High Voltage). It's worth to get this album just because of the b-side song, cause they're just awesome songs. My favourite is High Voltage, cause it includes a bit more rap than other Linkin Park songs. And also My December stands out, because it's an easy, really nice ballad. Step Up, we can say, is a typical song of Linkin Park. And also, you just have to love Linkin Park live. The performance of those 3 live songs is just great. So if you're a Linkin Park fan, you must get this cd. And if you're not, get it anyways and you just might become one.

Great.......2004-04-22

I think it's really a great album.To me,the live track may sound terrible but it's a more 'live' version & not like Live In Texas-which was edited to much.

LP is GREAT, but the live audio on this CD is terrible.......2004-02-20

I LOVE Linkin Park and the studio tracks on this import CD are fine. However, the audio is horrible on the live tracks. When Chester starts singing on "A Place for my Head" it sounds like it was recorded by someone with a tape recorder in the audience. It's pretty clear why this is an import and was not released in the US (even though you can get it here). I do not think this devalues LP at all in any way. Despite the terrible quality of the sound, you can still tell how great they are. I would just save my money and get the US CDs instead (Live in Texas is FANTASTIC if you want an alternative to the poorly recorded live tracks on this CD--but you have to join LPU 3 to get the tracks on Live in Texas DVD that aren't on the CD--but that is worth the money too!).

Nothing New but..........2003-05-19

Nothing New but when has that ever been a problem for the unstoppable Linkin Park. This did cost me a bit of money but it was worth it, given you havn't heard most of the songs or are a die hard fan. But I reccomend if you have this much money buy SE Meteora. This is the single that did it all for the guys and a very very very great peice for a collection. since most people do this so will I:

In The End: 4.5 (would have been perfect if we didn't all hear it a million times)
Papercut Live: 4 (a great song and you can hear the energetic crowd but it just doesn't quite fit with the other songs on the album)
Points Of Authority: 4 (great live performance but doesn't compare to...)
Place for My Head: 5 (simply the greatest live song...ever)
Step Up: 5 (no chester but and mostly rap but its a great song none the less.)
My December 4 (a bit long and slow and defitely not Linkin's Style. I LOVE IT!)
High Voltage: 5 (a great song though once again...not much chester to be heard anywhere)

Interesting, but not worth the money.......2002-10-25

Now don't get me wrong, I love Linkin Park, but who pays this much for a few bonus tracks? If you want different stuff by Linkin Park, go to mp3.com, type in Hybrid theory in the search column, and go to the old Hybrid Theory site. They've got some really cool freebe songs by Mike Shinoda, Chester Bennington, the whole crew. Personal fav; Carousel.

Average customer rating:

Brecht sings!
Some good, some bad, all Weill.

Weill: From Berlin to Broadway

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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From Berlin to Broadway, Vol. 2
The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation)
Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs
The Collector's The Threepenny Opera
Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner

ASIN: B000000WQ7
Release Date: 1996-01-23

Tracks:

Die Dreigroschenoper: Ballade von angenehmen Legen - K. Weill
Die Dreigroschenoper: Zweiter Dreigroschenfinale: Ballade uber die Frage, 'wovon lebt der Mensch?' - K. Weill
Die Dreigroschenoper: Die Songs der Dreigroschenoper: Seerauber - Jenny - Kanonensong - Liebeslied - Barbarasong - Tango-Ballade - Ballade von angenehmen Leben - Lied von der Unzulanglichikeit menslichen Strebens - Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Overture - K. Weill
Die Dreigroschenoper: Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Ballade von angenehmen Leben - K. Weill
Die Dreigroschenoper: Liebeslied - K. Weill
Die Dreigroschenoper: Kanonensong - K. Weill
Die Dreigroschenoper: Seerauber - Jenny - K. Weill
Die Dreigroschenoper: Ernster Dreigroschenfinale - K. Weill
Die Dreigroschenoper: Barbarasong - K. Weill
Die Dreigroschenoper: Eifersuchtsduett - K. Weill
Die Dreigroschenoper: Abschied ... Zweiter Dreigroshenfinale - K. Weill
Die Dreigroschenoper: Zuhalterballade - K. Weill
Die Dreigroschenoper: Lied von der Unzullichkeit menschlichen Strebens - K. Weill
Die Dreigroschenoper: Moritat - K. Weill
Die Dreigroschenoper: Schlusschoral - K. Weill
Die Dreigroschenoper: Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Lied von der Unzulanglichkeit menslichen Strebens - K. Weill
Kleine Dreigroschenmusik: Moritat von Mackie Messer - K. Weill
Kleine Dreigroschenmusik: Die Ballade von angenehmen Leben - K. Weill
Kleine Dreigroschenmusik: Tango - Ballade - K. Weill
Kleine Dreigroschenmusik: Kanonensong - K. Weill
Happy End: Bilbao Song - K. Weill
Aufstieg und Fall der Stadt Mahagonny: Alabama Song - K. Weill
Mahagonny - Excerpts: Auf nach Mahagonny - Alabama Song - Ach, bedenken Sie, Herr Jakob Schmidt...Havana Song - Wunderbar ist das Heraufkommen des Abends - Ihr habt gelernt das Cocktail-Abc - Erstens, vergesst nicht, kommt das Fressen - Meine Herren, m... - K. Weill
Der Silbersee: Das Lied von Schlaraffenland - K. Weill
Der Silbersee: Der Backer backt ums Morgenrot - K. Weill
Knickerbocker Holiday: September Song - K. Weill

Tracks:

Knickerbocker Holiday: The Scars - Kurt Weill
Lady In The Dark: Glamour Music Medley Including: Oh Fabulous One - Huxley - Girl Of The Moment - Kurt Weill
Lady In The Dark: One Life To Live - Kurt Weill
Lady In The Dark: This Is New - Kurt Weill
Lady In The Dark: The Princess Of Pure Delight - Kurt Weill
Lady In The Dark: It's Never Too Late To Mendelssohn - Kurt Weill
Lady In The Dark: Tchaikovsky (And Other Russians) - Kurt Weill
Lady In The Dark: The Saga Of Jenny - Kurt Weill
Lady In The Dark: My Ship - Kurt Weill
One Touch of Venus: I'm A Stranger Here Myself - Kurt Weill
One Touch of Venus: Ballet: Forty Minutes For Lunch - Kurt Weill
One Touch of Venus: Westwind - Kurt Weill
One Touch of Venus: Foolish Heart - Kurt Weill
One Touch of Venus: The Trouble With Women - Kurt Weill
One Touch of Venus: Speak Low - Kurt Weill
One Touch of Venus: That's Him - Kurt Weill
One Touch of Venus: Wooden Wedding - Kurt Weill
One Touch of Venus: Ballet: Venus In Ozone Heights - Kurt Weill
One Touch of Venus: Finaletto: Speak Low - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Ulysses Africanus: Lost In The Stars - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Ulysses Africanus: Lover Man - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Marie Galante: J'attends un navire - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Complainte del a Seine - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Happy End: Surabaya Johnny - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Aufstieg und Fall der Stadt Mahagonny: Den wie man sich bettet - Kurt Weill

Customer Reviews:

Brecht sings!.......2003-02-02

Come on! A chance to hear Bertolt Brecht sing his own Mack the Knife before Bobby Darrin messed it up! How many CDs are going to have that?!

Some good, some bad, all Weill........2003-01-02

Kurt Weill and Broadway fans will probably feel an intense need to have this album, and I'm not sure I'd be able to dissuade them. There's some good stuff on this recording, to be sure, but a great deal of it is in German, and much of it might not interest even someone with just a casual interest in the material chronicled. While there's a strong representation of The Threepenny Opera (all in German), the selections from Lady in the Dark featuring Gertrude Lawrence and Danny Kaye are vital, as are the tracks of Mary Martin and Kenny Baker performing selected numbers from One Touch of Venus. (You can also hear Walter Huston performing a song from Knickerbocker Holiday, though it is, for some strange reason, "The Scars." It's an interesting historical record, but not a great song.) Lotte Lenya also sings some as well, which is a treat, but overall, this is a highly variable recording. Make sure you know exactly what you're getting beforehand, or you may be likely to find yourself--as I do--listening to only half the album.

Music:

Music

music