So Lonely [CD-single] [Import]
So Lonely [CD-single] [Import]
Track Listings
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1. So Lonely (Radio Edit)
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2. So Lonely (Joey Negro Club Mix)
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3. American Dream (Afterlife Remix)
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Editorial Reviews
Product Description
'So Lonely' is the follow up to 'American Dream' released in 2001 and reached the heady heights of No.3 in the UK charts held off by Atomic Kitten and Wheatus! The Radio Edit is backed with the Joey Negro Club Mix & 'American Dream' (Afterlife Remix).
So Lonely,Jakatta,Rulin,5"CD Singles
Average customer rating:
- Instruments of the Orchestra - Great Reference Material!
- Beginner or Expert
- Very Informative and Enjoyable
- Frank's view
- Excellent Intro for Those Not Familiar with the Orchestra
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Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
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ASIN: B00006O0NT
Release Date: 2002-12-03 |
Tracks:
- Overture To 'Tannhauser'
- Domna, Pos Vos Ay Chausida
- We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
- Hungarian Dance No.7
- The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
- Violin Concerto In D Major (Adagio)
- But For A Long Time It Was Seen As The Instrument Of The Devil.
- The Soldier's Tale: Triumphal March Of The Devil
- The Manipulative Seductiveness Of The Gypsy Violin.
- Csardas Music
- The Violin And The Initiation Of Nature
- The Four Seasons (Spring, Mvt 1)
- Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
- The Four Seasons (Summer, Mvt 1)
- Like The Devil, The Violin Is A Master Of Disguise.
- Old Viennese Dance No.3 'Schon Rosmarin'
- The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
- Tzigane
- Do We Now Have The True Measure Of This Instrument? Not Just Yet.
- Caprice No.24
- The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
- Variations On A Theme Of Frank Bridge (No.7)
- Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
- Romeo And Juliet: Act IV
- Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
- The Four Seasons (Winter, Mvt 1)
- The Violin Muted
- Clair De Lune
- The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
- Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
- The Pizzicato Violin
- Pizzicato Polka
- In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
- Violin Concerto No.2 In G Minor (Slow Mvt)
- Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
- The Planets (Mars - The Bringer Of War)
- The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
- Hungarian Dance No.4
- Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
- The Four Seasons (Autumn, Mvt 1)
- Now The Same Technique, But The Sound Might Have Come From Another World.
- Bolero
- Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
- Cadenza To The Violin Concerto By Brahms
- Now Compare That With A Real Violin Duet.
- Forty-Four Duos (No. 1: Teasing Song)
- Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
- Forty-Four Duos (No.2: Maypole Dance)
- And Now What May Be The Most Beautiful Accompanied Violin Duet In History
- Concerto In D Minor For Two Violins (Largo)
- The Soul Of The Violin Is In Song; But What About This Weird Passage?
- Violin Concerto No.1 In D Major (Mvt 2)
- The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
- Symphony No.1 'Titan' (Mvt 1, Opening)
- Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
- The Sleeping Beauty (Act II, No.15: Entr'Acte)
- Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
- The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
- Also Sprach Zarathustra (Of The Afterworldsmen)
- Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
- Variations On A Theme Of Frank Bridge (No. 4)
- Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
- Four Sea Interludes (Dawn) From 'Peter Grimes'
- To End This Outing With The Violins, A Charming Little Elfin Dance
- Elfenreigen
Tracks:
- Introduction To The Viola
- Viola Concerto (Mvt 1)
- Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
- Gayane Suite No.1 (Armen's Solo)
- Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
- Passacaglia, Op.33b From 'Peter Grimes'
- The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
- Harold In Italy (Mvt 4)
- The Muted Viola: Intimate, Gentle, Poignant In Dvork
- Cypresses (No.9)
- The Massed Violas Of The Modern Symphony Orchestra In Mahler
- Symphony No.4 (Mvt 3)
- The 'Period' Viola In Bach
- Brandenburg Concerto No.6 (Last Mvt)
- The Cello: A Voice Of Unique Nobility
- Suite No.1 For Unaccompanied Cello (Prelude)
- Brahms And The 'Soul' Of The Cello
- Piano Concerto No.2 In B Flat Major (Mvt 3)
- Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
- Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
- In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
- Symphony No.3 'Eroica' (Finale)
- But The Cello Is Not Condemned To Spend Its Life In The Basement.
- Elfentanz, Op.39
- Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
- The Protecting Veil (Opening)
- A Cello With An Identity-Crisis: The Pizzicato Flamencan
- Flamenco
- Double-Stopping In The Lower Reaches Of The Cello's Range
- Solo Suiet For Cello And Piano (Sardana)
- It's In The Middle Register That The Cello Really Comes Into Its Own.
- Oriental Dance, Op.2 No.2
- It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
- Symphony No.9 (Finale)
- Introduction To The Double-Bass
- The Carnival Of The Animals (The Elephant)
- But The Double-Bass Can Be Intensely Expressive And Graceful.
- Elegy No.1 In D Major
- The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
- Capriccio Di Bravura
- Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
- The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
- Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds
Tracks:
- The Antiquity And Magic Of The Flute
- Prelude A L'Apres-Midi D'Un Faune
- The Versatility And Agility Of The Flute
- Orchestral Suite No.2 In B Minor (Badinerie)
- The Flute In Fifteenth-Century Spain
- Sa'Dawi
- Other Flutes: The Bass And Alto
- Chamber Music No.II
- The Piccolo - Aptly Named
- La Naissance D'Osiris (Mvt 6)
- From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
- Suite No.1 For Small Orchestra (Valse)
- A Variety Of Techniques
- Chamber Music No.II
- Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
- The Nutcracker (Act II, No.2: Scene)
- From The Transverse To The Vertical: The Baroque Recorder
- Recorded Suite In A Minor (Menuet II)
- An Unfamiliar, Early Vision Of The Instrument
- Naelden, Naelden
- The Bachian Oboe
- Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
- Introduction To The Cor Anglais Or 'English Born'
- Symphony No.9 'From The New World' (Mvt 2)
- The Loneliness Of The Cor Anglais
- The Swan Of Tuonela
- The Cor Anglais Joins The French Horn In Haydn.
- Symphony No.22 'The Philosopher' (Opening)
- Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
- Bolero
- The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
- Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
- As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
- Gayane Suite No. 1 (Mvt 5)
- The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
- The Range Of The Normal Clarinet Parts Goes Quite High...
- The Snow Maiden (Scene 5: Melodrama)
- ...And Quite Low.
- Peter And The Wolf (The Cat)
- The Clarinet As Concerto Soloist
- Clarinet Concerto In A Major (Rondo)
- But That's Not The Instrument Mozart Wrote It For; This Is:
- Clarinet Concerto In A Major (Rondo)
- Introduction To The Saxophone
- Hary Janos Suite (Mvt 4)
- The Soprano Saxophone Has Quite A Different Feel To It.
- L'Arlesienne Suite No.1 (Minuet)
- The Little Sopranino Sax Goes Even Higher.
- Bolero
- The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
- Pictures At An Exhibition (The Old Castle)
- The Saxophone Can Be Quite Contagiously Good-Humoured.
- Sax-O-Phun
- The Puffa-Puffa Image Of The Bassoon
- Peter And The Wolf (Grandfather)
- The Bachian Bassoon, In Accompanimental Mode
- Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
- Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
- And Ravel, Also In Spanish Mode, Does Likewise.
- Bolero
- The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
- Symphony No.3 (Opening)
- The Eerie Bassoon In Its Highest Register
- The Rite Of Spring (Opening)
- Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
- The Firebird Suite (1919, Berceuse)
- The Bassoon As Concerto Soloist, Avoiding All Exaggeration
- Bassoon Concerto In G Minor (Finale)
- The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- The French Horn Under Its Woodwind Hat
- Wind Quintet, Op.43 (Last Mvt)
- Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
- Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
- The Horn In Harmonious Blend With Strings In Another Quintet
- Horn Quintet, K.407 (Finale)
Tracks:
- The Trumpet As Virtuoso Soloist
- Brandenburg Concerto No.2 (Last Mvt)
- The Special Brillance Of Paired Trumpets
- Concerto In C For Two Trumpets, RV537 (Mvt 1)
- The Ceremonial Trumpet
- Fanfare For The Common Man
- Trumpets And Drums - An Incomparable Alliance
- Messiah (The Trumpet Shall Sound)
- The Versatility Of The Trumpet, From The Most Public To The Most Lonely
- Piano Concerto In F (Slow Mvt)
- The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
- Carmen Suite No.2 (Habanera)
- The Trumpet As The Voice Of Strength And Courage
- Carmet Suite No.2 (Toreador's Song)
- The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
- Billy The Kid
- The Trumpet As Character Actor
- Pictures At An Exhibition (No.6)
- The Trumpet As The Voice Of God
- Mass In B Minor ('Et Exspecto')
- The Birth Of The Trombone
- Aenmerckt Nu Hier
- The Birth Of The Brass As A Family
- Canzon 12 In Double Echo
- The Trombone In The Eighteenth Century
- Trombone Concerto In B Flat Major (Finale)
- The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
- Hosannah
- The Trombones Become Part Of The Orchestra.
- Symphony No.5 (Finale)
- The Wagnerian Trombone:/Overture To 'Tannhauser'
- The Trombone As Caricaturist
- Pulcinella (No.19: Vivo)
- The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
- The Horn And The Hunt
- Horn Concerto No.4 In E Flat, K.495 (Finale)
- The Challenging Horn Of The Baroque
- Abaris Ou Les Boreades (Menuet)
- The Scarcity Of First-Rate Players In Handel's Time
- Walter Music (Minuet 1)
- The Horn As Magician/The Firebird Suite (1919, Finale)
- Horns And The Sound Of Nobility
- Overture To 'Tannhauser' (Opening)
- The Special Sound Of The Horn In Its Higher Register
- Mass In B Minor ('Quoniam Tu Solus Sanctus')
- The Trumpet-Like Sound Of Massed Horns
- Symphony No.3 (Mvt 1, Opening)
- The Tuba - Unfairly Maligned?
- Symphony No.6 (Mvt 3)
- The Tuba Perfectly Cast By Ravel
- Pictures At An Exhibition (Bydlo)
Tracks:
- Introduction. And We Begin With A Bang.
- Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
- At The Opposite Extreme Is The Triangle.
- Piano Concerto No.1 In E Flat (Scherzo)
- Categories Of Percussion: Tuned And Untuned. The Side Drum
- Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
- The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
- The Tambourine. One Of The Oldest Instruments In The World
- Den Hoboecken Dans
- Even Older Is The Originally Oriental Gong.
- Ma Mere L'Oye - Mother Goose (Laideronette)
- No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
- Gymnopedie No.2
- The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
- Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
- More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
- Rodeo (Hoe-Down)
- Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
- Scherzi Musicali (Damigella Tutta Belle)
- A Still Earlier Example From Fifteenth-Century Spain
- Yo M'Enamori D'Un Aire
- The Birth Of The Bongo
- Symphonic Dances From 'West Side Story'
- From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
- Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
- From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
- Onwards To The Tuned Percussion. First, The Timpani
- Also Sprach Zarathustra (Introduction)
- But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
- Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
- Taking Advantage Of Tunability
- Music For Strings, Percussion And Celeste (Mvt 2)
- The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
- Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
- Saint-Saens And The Xylophone
- The Carnival Of The Animals (Fossils)
- Ravel And The Xylophone
- Ma Mere L'Oye - Mother Goose (Laideronette)
- Introducing The Marimba/Carmen Suite (First Intermezzo)
- Introducing The Vibraphone
- The Treasure Of The Sierra Madre (Narange Dolce)
- The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
- Introducing The Hungarian Cimbalom
- Folk Dances
- The Cimbalom And The Symphony Orchestra
- Hary Janos Suite (Mvt 3)
- Introducing The Tubular Bells
- Hary Janos Suite (Viennese Musical Clock)
- A More 'Up-Front' Approach From Rodion Shchedrin
- Carmen Suite (Introduction)
- But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Introducing The Celeste
- The Nutcracker (Dance Of The Sugar Plum Fairy)
- Magic, In The Use Of Collective Percussion
- Miroirs (La Vallee Des Cloches)
- Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
- A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
- The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
- Brandenburg Concerto No.2 (Slow Mvt)
- The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
- Petrushka (Russian Dance)
- The Anti-Romantic Piano As An Integral Part Of The Orchestra
- Music For Strings, Percussion And Celeste (Last Mvt)
Tracks:
- Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
- Symphony No.3 'Organ' (Finale)
- But Things In Handel's Day Were Very Different.
- Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
- The Organ Is Difficult To Classify.
- An Unexpected, Organ-related Guest
- Concerto Pour Zampogna (Last Mvt)
- Peasant-Fancying... And A Touch Of The Roaming Cowboy
- Les Miserables (Drink With Me)
- Outside Artefacts And The Power Of Association
- Mahler's Sleighbells
- Symphony No.4 (Opening)
- A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
- Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
- Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
- Don Quixote (Variation VIII)
- National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
- And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
- And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
- The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
- The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
- The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
- The Sitar Of India/Evening Raga: Bhapoli
- The Accordion For France (Especially Paris)/Paris Canaille
- The Zither For Vienna/The Third Man (Theme)
- The Cimbalom For Hungary/Folk Dances
- The Guitar As An Integral Part Of The Orchestra/Rondena
- There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
- The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Nocturnes
- Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
- The Carnival Of The Animals (The Cuckoo)
- The Flute As An All-purpose Aviary
- The Carnival Of The Animals (The Aviary)
- The Oboe As Duck
- Peter And The Wolf (The Duck)
- The Recording Of Reality. Does It Work As Well?
- The Pines Of Rome (The Pines Of The Janiculum)
- The Recording Of Reality Electronically Reborn In New Guises
- Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
- Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
- Symphony No.6 'Pastoral' (Andante Molto Mosso)
- Some Improbable Casting: The Violin As Braying Donkey
- The Carnival Of The Animals (Persons With Long Ears)
- A Truly Orchestral Hee-haw To Be Reckoned With
- Overture To 'A Midsummer Night's Dream'
- A Thunderstorm In A Million
- Symphony No.6 'Pastoral (Allegro-Allegretto)
- the Instrumental Depiction Of A Silent World
- The Carnival Of The Animals (The Aquarium)
- Saint-Saens' Menagerie Takes A Curtain Call.
- The Carnival Of The Animals (Finale)
Tracks:
- The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
- Forty-Four Duos (No.4)
- A Great Contrast, Of Both Pitch And Character: Violin And Viola
- Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
- Arrival Of The Standard String Trio: Violin, Viola, And Cello
- String Trio In B Flat (Menuetto)
- The String Quartet: Two Violins, Viola, And Cello
- String Quartet In F, Op.18 No.1 (Mvt 3)
- The String Quintet - When The Extra Instrument Is A Second Viola
- String Quartet No.5 In D, K.593 (Adagio)
- The String Quintet - When The Extra Instrument Is A Second Cello
- String Quintet In C (Mvt 3)
- The String Sextet: Two Violins, Two Violas, And Two Cellos
- String Sextet In B Flat (Mvt 2)
- The String Octet: The Standard String Quaret Times Two
- Octet In E Flat, Op.20 (Mvt 1)
- Double The String Octet: A Fully Fledged String Orchestra
- String Symphony No.2 (Finale)
- The Massed Strings Of A Symphony Orchestra
- Fantasia On A Theme Of Thomas Tallis
- Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
- Wind Quintet In A Minor, Op.100 No.5 (Theme)
- In The First Variation It's The Horn That Gets The Lion's Share.
- Wind Quintet In A Minor, Variation 1
- In Variation Two The Torch Is Handed To The Bassoon.
- Wind Quintet In A Minor, Variation 2
- In Variation Three The Oboe Leads.
- Wind Quintet In A Minor, Variation 3
- Variation Four: Conversation Before Returning To A Solo-dominated Texture
- Wind Quintet In A Minor, Variation 4
- And Variation Five is Dominated By The Clarinet.
- Wind Quintet In A Minor, Variation 5
- The Next To Be Featured Is The Virtuoso Flute.
- Wind Quintet In A Minor, Variation 6
- Individual Farewells And A Closing Chorus
- Wind Quintet In A Minor, Variation 7
- A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
- Octet In F (Mvt 3)
- The Early Classical Symphony Orchestra Of Haydn And Mozart
- Symphony No.29 In A, K.201 (Finale)
- Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
- Canzon 28
- Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
- Symphony No.5 (Finale)
- From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
- Beethoven Changed The Face Of The Symphony And The Orchestra Forever
- Symphoy No.6 'Tragic' (Mvt 1)
- The Cult Of Orchestral Elephantiasis Reaches Its Peak.
- Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
- When Large Doesn't Necessarily Mean Loud: Debussy
- Images (Gigues)
- A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
- Turangalila Symphony (Chant D'amour 1)
- The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
- Balle De Xerxes (Gavotte En Rondeau)
- Computer And Synthesiser: Friends Or Foes?
- Concerto In D Minor For Two Violins (Largo)
- A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')
Customer Reviews:
Instruments of the Orchestra - Great Reference Material!.......2007-04-04
This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!
Beginner or Expert.......2007-03-12
This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!
Very Informative and Enjoyable.......2006-11-20
Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!
Frank's view.......2006-08-19
This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.
Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08
I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.
The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!
I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.
The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Average customer rating:
- A great introduction to the art of Placido Domingo
- This is really the best.
- If you like Placido at all, you must have this CD.
- Rare And Great Domingo Classics
- A real Bobby Dazzler
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Very Best of
Placido Domingo
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD
General
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Similar Items:
- Placido Domingo: A Love Until The End Of Time
- Bravo Domingo
- The Very Best of Franco Corelli
- Perhaps Love
- The Domingo Songbook
ASIN: B000083GOJ
Release Date: 2003-04-22 |
Tracks:
- Ill Mio Tesoro
- Un'aura Amorosa
- Dies Bildnis Ist Bezaubernd Schon
- La Ci Darem La Mano
- Vani Sono I Lamenti...Svegliatevi Nel Core
- Pays Merveilleux...O Paradis
- Quel Trouble Inconnu Me Penetre...Salut ! Demeure Chaste Et Pure (Faust, Act III)
- Ah! Tout Est Bien Fini... O Souverain, O Juge, O Pere (Le Cid, Act III)
- None But The Lonley Heart
- Lensky's Aria
- Donna, Non Vidi Mai (Manon Lescauy Act, II)
- Ah, Manon, Mi Tradisce
- Dammi I Colori...Recondita Armonia
- E Lucevan Le Stelle (Tosca, Act III)
- Ch'ella Mi Creda (La Fanciulla Del West, Act III)
- Dai Campi, Dai Prati (Mefistofele, Act I)
- Virgini Muse...Quando Al Soave Anelito
- O Sink Hernieder, Nacht Der Liebe
- Was Am Besten Er Kann...Hoho! Hohei!
Tracks:
- Se Quel Guerrier Io Fossi!...Celeste Aida
- Su, Profetessa...Di Tu Se Fedele
- Forse La Soglia Attinse...Ma Se M'e Forza Perderti
- O Tu Che In Seno Agli Angeli
- Su, Cacciator...Fontainebleau!...
- Niun Mi Tema
- Ach, Wie So Herrlich Zu Schau'n
- Sckenkt Man Sich Rosen In Tirol
- Gern Hab'ich Die Frau'n Gekusst
- O Vaterland...Da Geh'ich Zu Maxim
- Dein Ist Mein Ganzes Herz
- Mi Aldea
- Cancion Del Sembrador
- No Puede Ser
- Serenata
- Copillas De Belen
- Coplas Del Pastor Enamorado
- En Aranjues Con Tu Amor
- Jealousy Tango
- La Golondina
Amazon.com
Placido Domingo is a phenomenon, and every aspect of his artistry is on display in this 2-CD compilation, which includes arias from his signature roles in Italian, French, German, and Russian operas, and songs from Viennese and Spanish operettas. The original recordings range from the early 1970s to the present and show that though over the years his bright golden voice has taken on a darker, more burnished glow, it has retained the melting lyricism, the heroic ring, the thrilling top notes, and the focused intensity that make it instantly recognizable. (Comparing the Verdi arias included here with their counterparts of later vintage in the all-Verdi set The Tenor Arias bears this out.) The program demonstrates his stylistic and expressive versatility and his ability to instantly establish character and mood, from Lenski's sorrow (in Eugene Onegin), Cavaradossi's heart-rending despair (in Tosca), Otello's shattering agony, to Tristan's passion, Siegfried's exuberance, Faust's ardor (first in French by Gounod, then in Italian by Boito). In three Mozart arias, Domingo spins endless, perfectly shaped phrases with incredible breath control, then adds an oddity: the famous duet between Zerlina and Don Giovanni, a role he has not performed. Five Viennese operetta songs, one of which he also conducts, are delightful; there is a smile of pleasure in his voice, but not a hint of kitsch. By contrast, Tchaikovsky's "None but the Lonely Heart" is spoiled by an orchestration that is pure Hollywood. In the final Spanish group, he is on home ground and incomparable. This is a glorious record, a must for all lovers of great singing. --Edith Eisler
Customer Reviews:
A great introduction to the art of Placido Domingo.......2007-07-04
Placido Domingo, of course, is one of the finest tenors of the latter part of the 20th century. This 2 CD set well captures his talent, showing the range of his singing. We hear cuts from Puccini and Verdi to Tchaikovsky and Wagner to Strauss and Handel. And even a traditional Spanish sung and some operetta thrown in for good measure!
This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:
"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.
From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.
From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.
And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.
Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.
Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.
Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.
Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.
So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.
This is really the best........2007-05-16
I have many of Mr. Domingo's recordings but I really love this one. He seems to get better with age. Some of the songs are on some of my other recordings but they seem new and fresh on this CD. I really think this is the best of Placido Domingo.
If you like Placido at all, you must have this CD........2005-04-06
Placido Domingo has been around for so long, it is easy to take this great artist for granted. I totally agree with the previous reviews of this album; I can also say that I had the opportunity to hear him live in concert on April 2, 2005 in Biloxi, Mississippi, and his voice is still stunning. His opening aria that night was the prayer from El Cid, "O Souverain," which he dedicated to the memory of Pope John Paul II. This piece is the 8th selection on CD 1, and is from a 1997 live recording. His thrilling finish blew me away when I listened to it the first time, and and the crowd on the recording reacts the same way the Mississippi audience did when we heard him. That aria alone is worth the price of this CD set.
Rare And Great Domingo Classics.......2005-03-08
EMI's "The Very Best Of" series is a wonderful way for the opera lover/novice or even connoisseur in training to get acquainted with the great singers of opera in the 20th century. It is possible that in a few years, the great singers of today (from the 90's up to now and further into the future) will grace the album covers of The Very Best Of...The Very Best Of Renee Fleming, The Very Best Of Salvatore Licitra, etc. This is not exactly the best of Domingo. It is more of a collection of rare and wonderfully expressive arias from operas that range all over the map- Mozart, Verdi, Puccini, Wagner, Meyerbeer, Gounod, Massenet. Now, here's the reason why so many people adore Domingo, myself included - Domingo is a Renaissance Opera Tenor. He has sung almost every tenor role in the opera universe. Even if he is, to some, the "tenor who sang with Pavoratti in the three tenors" he proves he's the strongest of the bunch, the most dedicated, the most prolific and most artistic. Domingo has a beautiful voice, with secure high register and dark, masculine middle chest voice and exciting dramatic electricity! He's sung more than 50 operas, in addition operetta and Spanish Zarzuela (the Spanish equivalent to musicals or operetta which is where he got started and his parents sung in Zarzuela) and he has also recorded Spanish mainstream love songs for Latin audiences. A winner of Grammies, an actor in movies about operas that he starred in (Tosca, La Traviata, Otello) and the most active tenor on tv broadcasts, he is just incredible and powerful.
He is a great force in opera.
Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......
A real Bobby Dazzler.......2004-02-19
Fans of Mr. Domingo would be lucky to find a selection of music that more profoundly explores and exhibits the diversity of his vocal ability and interpretation than is offered on these two discs. Delicious displays of Mozart, ringing renditions of the most challenging high Italian roles, powerfully rounded accounts of some of the heavy German/Russian repetoir, and some noticably nostalgic songs from the light Spannish tradition provide an impressive catalogue of the great man's rich, focussed, technically impecable and singularly beguiling vocal talent. Those who are yet to form an opinion on any particular genre of the operatic spectrum would do well to start here, so eclectic is this album. Also, you might be reassured to know that, should you become an admirer of P.D.'s talent as a result of listening to this compilation, (it is difficult to resist), you will have no trouble finding other recordings by him. A record-breaker with more than 110 roles to his repetoir (40 is a respected total for an opera singer), he is the most recorded tenor in history, leaving more than 80 complete accounts to date of operas in the Italian, French, German and Russian traditions.
Average customer rating:
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Modern Rock 1982-1983
1. Down Under -- Men At Work 2. Sweet Dreams (Are Made Of This) -- Eurythmics 3. Come On Eileen -- Dexy's Midnight Runners 4. Hungry Like The Wolf -- Duran Duran 5. Shake It Up -- The Cars various artists , 6. She Blinded Me With Science -- Thomas Dolby 7. Too Shy -- Kajagoogoo 8. (She's) Sexy + 17 -- Stray Cats 9. Steppin' Out -- Joe Jackson 10. In A Big Country -- Big Country , 11. Love My Way -- The Psychedelic Furs 12. Mexican Radio -- Wall Of Voodoo Track Title 1. True -- Spandau Ballet 2. One Thing Leads To Another -- The Fixx , 3. Back On The Chain Gang -- The Pretenders 4. Vacation -- The Go-Go's 5. Love Plus One -- Haircut 100 6. I Want Candy -- Bow Wow Wow 7. Our House -- Madness 8. Always Something There To Remind Me -- Naked Eyes , and 9. Only The Lonely -- The Motels 10. I Ran (So Far Away) -- A Flock Of Seagulls 11. Goody Two Shoes -- Adam Ant 12. I Know What Boys Like -- Waitresses
ProductGroup: Music
Binding: Audio CD
New Wave
| New Wave & Post-Punk
| Alternative Rock
| Styles
| Music
ASIN: B000NHZHKS |
Product Description
Year: 1982
Track Title
1. Down Under -- Men At Work
2. Sweet Dreams (Are Made Of This) -- Eurythmics
3. Come On Eileen -- Dexy's Midnight Runners
4. Hungry Like The Wolf -- Duran Duran
5. Shake It Up -- The Cars
6. She Blinded Me With Science -- Thomas Dolby
7. Too Shy -- Kajagoogoo
8. (She's) Sexy + 17 -- Stray Cats
9. Steppin' Out -- Joe Jackson
10. In A Big Country -- Big Country
11. Love My Way -- The Psychedelic Furs
12. Mexican Radio -- Wall Of Voodoo
Track Title
1. True -- Spandau Ballet
2. One Thing Leads To Another -- The Fixx
3. Back On The Chain Gang -- The Pretenders
4. Vacation -- The Go-Go's
5. Love Plus One -- Haircut 100
6. I Want Candy -- Bow Wow Wow
7. Our House -- Madness
8. Always Something There To Remind Me -- Naked Eyes
9. Only The Lonely -- The Motels
10. I Ran (So Far Away) -- A Flock Of Seagulls
11. Goody Two Shoes -- Adam Ant
12. I Know What Boys Like -- Waitresses
Average customer rating:
- Irresistible
- "Some Enchanted Evening" with Kunzel and the Cincinnati Pops
- Excellent!
- Great Arrangments
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Rodgers & Hammerstein: Songbook for Orchestra (Orchestral Suites)
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD
Waltzes
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Rodgers, Richard
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Similar Items:
- Lerner & Loewe Songbook for Orchestra
- Rodgers & Hammerstein - The Complete Overtures ~ Opening Night / Hollywood Bowl Orchestra · Mauceri
- Puttin' on the Ritz: The Great Hollywood Musicals
- The Sound Of Music (1987 Studio Cast)
- Classics of the Silver Screen
ASIN: B000003CXQ
Release Date: 1992-01-28 |
Tracks:
- Oklahoma!
- Carousel
- State Fair
- South Pacific
- The King And I
- Cinderella Waltz
- Flower Drum Song
- The Sound Of Music
Customer Reviews:
Irresistible.......2005-07-29
From beginning to end this CD is pure delight. A great recording has great music, a great performance, and great sound; this one scores on all three counts.
Rodgers and Hammerstein's musicals dominated Broadway in the 1940s and 1950s, and American musical theater has produced no more consistently eloquent and durable voice than Richard Rodgers. From his fertile genius flowed a surprising number of memorable songs, many of which have passed into and become an accepted and beloved part of modern American culture.
This well-filled CD (77:36) features symphonic arrangements (all but two by Robert Russell Bennett) of the music from Oklahoma (1943), Carousel (1945), State Fair (1945), South Pacific (1949), The King and I (1951), Flower Drum Song (1958), and The Sound of Music (1959). All the great tunes are here in suites from each musical that average 10-12 minutes in length. The arrangements are expert: rich, varied, and colorful. The performances are polished, idiomatic, and irresistible; Kunzel and this orchestra are thorough masters of this kind of material. And Telarc's sound (recorded 1991) is state-of-the-art (engineer Michael Bishop deserves to take a bow).
In short, there's nothing here to cloud your listening pleasure (the only quibble I can imagine is that some of your favorites may not last long enough), so it's hard for me to envision anyone with ears and a taste for music who wouldn't enjoy this CD. Warmly recommended. Finally, if you like this one as much as I do, you might want to know that the same team has produced a companion volume, the Lerner & Lowe Songbook for Orchestra.
"Some Enchanted Evening" with Kunzel and the Cincinnati Pops.......2003-12-26
Erich Kunzel's Rodgers and Hammerstein anthology with the Cincinatti Pops Orchestra is one of the best and most ravishing instrumental Rodgers and Hammerstein albums of all time. With sumptuous arrangements and warm, natural Telarc recording, this glorious 77-minute CD presents sweeping, melodic arrangements of over 60 Rodgers and Hammerstein selections, spanning eight scores, and Kunzel allows the Pops to play with a characterful and polished understanding of the Rodgers and Hammerstein idiom. The disc is enough to cheer you up on a dull day and make you smile, and it might even want to make you feel like a convert to Rodgers and Hammerstein musicals.
This CD has all the scores arranged chronologically. The OKLAHOMA! suite that opens this disc promises a feast for the senses, Kunzel ably evokes the territory's "bright, golden haze" in the way he conducts the various excerpts, until you feel the atmosphere of the country charm of the show, and the love-affair between Curly and Laurey. Then, in CAROUSEL, he ably evokes the pathos of this tragic R&H masterwork, especially in the truncated Waltz, but he leads a wonderfully melodic "June is Bustin' Out All Over" and a devotional "You'll Never Walk Alone." Although this suite does not include Billy's pivotal Soliloquy, it includes "If I Loved You" as an expression of his love for Julie, and within minutes you could be soaked in the ups and downs of the show's mood.
After a brief STATE FAIR suite, with sweeping renditions of "It Might As Well Be Spring" and "It's a Grand Night for Singing", we are brought into the disc's showstopping highlights. These highlights are the excerpts from SOUTH PACIFIC, THE KING AND I, and THE SOUND OF MUSIC. But yet Kunzel conducts the rest of the disc until the various suites amount to a series of showstoppers. These three suites present wonderfully-arranged versions of their many familiar classic songs, with well-played solos. The SOUTH PACIFIC suite presents the songs in chronological order, yet preserves the atmosphere of the show at the same time. Kunzel ably brings out the romance in "Some Enchanted Evening" and "Younger than Springtime," and contrasts it with the exotic and dreamlike "Bali Hai'i" and the comic "There is Nothing like a Dame" and "I'm Gonna Wash That Man Right Outa My Hair". Although the suite ends quietly with a reprise of "Dites-Moi" rather than the reprise of "Some Enchanted Evening," within minutes we are swept into the KING AND I suite. Kunzel ably brings out the Oriental pathos in this score, and he captures the warmth of Anna's rapport with the King's Siamese children in "Getting to Know You", and with the King himself in "Shall We Dance." There is also romance in the love ballads "I Have Dreamed" and "We Kiss in a Shadow." Similarly, in the selection from THE SOUND OF MUSIC, Kunzel conducts this until the orchestra soaks itself in the atmosphere of this Austrian R&H score. This SOUND OF MUSIC suite has more of a feel of the score compared to the bonus track on Sony's reissued version of the Broadway recording. You can almost feel as if you are following the progress of the Trapp family and how it lifts its spirits with the joy of music. Kunzel gives us a soaring version of the title song, and spirited versions of "Do-Re-Mi" and "My Favourite Things." He balances it with the open-air quality of "Edelweiss" and "The Lonely Goatherd." Although this suite could have included "Something Good," the love ballad written for the film, the three recollections of the songs that were cut from the movie only last for a while. And, the towering version of "Climb Every Mountain" crowns this portion of the disc, and this sumptuously-produced recording. But, I should also mention the infectuous FLOWER DRUM SONG medley, where Kunzel turns this underrated score into a work of art, until it convinces you to buy the cast recording. And, don't forget about the brief CINDERELLA WALTZ, too, when Kunzel conducts it magically, until you feel like you are in the company of Cinderella and the Prince. He is able to show how this R&H score marked a comeback for R&H after the failiures of Me and Juliet, and Pipe Dream.
Overall, this glorious Rodgers and Hammerstein recording is guarunteed to make you want to pucker your lips out for a whistle or sing along (to paraphrase another revew for Kunzel's Disney Spectacular disc) - even if this recording is music only, and as long as you know the words to the songs (and you might know a large handful of them already.) There is always a certain magic in this fine CD that makes you feel like you're sitting in the theatre watching these musicals, until it makes you feel like it is truly, to borrow two R&H song titles, "Some Enchanted Evening" and "Something Wonderful" to be in Kunzel's company for this R&H offering. It would certainly be one recording that could make you feel willing to buy the complete cast recordings of the shows. And I guaruntee that it will make you feel willing to pull out your existing copies of the cast recordings to listen to them again. I also guaruntee that it will be a cornerstone in any Rodgers and Hammerstein collection, just as it is in mine. Recommended heartily to any Rodgers and Hammerstein enthusiast and to fans of Erich Kunzel's work. And, you can play it while reading the Richard Rodgers biography, Musical Stages, until Rodgers himself would count this as his favourite disc in the afterlife.
By the way, most of the arrangements for the suites on this CD were done by the veteran R&H orchestrator Robert Russell Bennett, and it surely adds to the appeal of this recording. This itself is enough to amount to the icing on the cake, since Kunzel conducts them well on here, and since this recording still allows the suites to have the original theatrical atmosphere. And, although this recording is like the Mauceri collection of the Rodgers & Hammerstein overtures in compiling orchestral suites of Rodgers & Hammerstein, I think that I like the Kunzel recording even more because Kunzel has more magic in his conducting of these suites.
Excellent!.......2003-04-08
This is one of the best Erich Kunzel/Cincinnati Pops collections we own! A must for Rodgers and Hammerstein fans, too.
Great Arrangments.......2001-09-02
This is a first rate album with great arrangments and orchestrations. If you're a Rodgers and Hammerstein fan, you can't afford to miss this specatacular album
Average customer rating:
- Very nice
- A great program from the world's best romantic organ
- What Can I Say - Excellent Organ Music!
- The Art Of Virgil Fox
- You need this one!
|
The Art Of Virgil Fox
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Art of Virgil Fox, Vol. 2
- Virgil Fox Encores
- Bach: Great Organ Works
- The Wanamaker Legacy
- Heavy Organ At Carnegie Hall 1973
ASIN: B000002S63
Release Date: 1994-11-08 |
Tracks:
- A Mighty Fortress Is Our God
- Evening Star (from Tannhauser)
- None But The Lonely Heart
- All Through The Night
- Meditiation (From Thais)
- Liebestraume No. 3
- Clair De Lune (From Suite Bergamasque)
- The Old Refrain
- To A Wild Rose (From Woodland Sketches)
- Andante Cantabile (From String Quartet No. 1)
- Intermezzo (From Cavalleria Rusticana)
- To Spring (Op. 43, No. 6)
- Londonderry Air
- The Swan (From Carnival Of The Animals)
- Songs My Mother Taught Me
- Ich Liebe Dich
- The Lost Chord
Customer Reviews:
Very nice.......2007-01-14
The other reviewers have covered it all. I want to add that it is hard to find a good recording of A Mighty Fortress (it is on track 1), so I really value this one.
This CD does not contain the usual classical organ pieces, which is nice since most people already have plenty of other CDs contianing that material.
Be aware that after the loudness of track 1, the rest of the tracks are mostly quiet and reflective. Just a note in case you were expecting something more loud.
A great program from the world's best romantic organ.......2003-01-05
The enormous Aeolian-Skinner organ in New York's Riveside Church was built over two decades under the direction of Virgil Fox who plays on this recording. Although it's not the largest organ in the world, or even in New York, it is the definitive American Symphonic Organ. There are dozens of different divisions surrounding the church sanctuary (not just one big box at one end of the church) and there are tens of thousands of pipes. Many stops beautifully imitate orchestral instruments. The organ is renown for its extensive "celeste" stops--stops where two ranks of pipes, one slightly out of tune, play together to provide a shimmering ethereal quality.
The organ's resources are so vast that many performers have difficulty in controling the sound. They play either whisper soft or deafeningly loud. But Fox was perfectly in control, and you'll hear the full range of the organ building to exciting climaxes and then gently pulling back.
There's an interesting story about the (analog) recording process. Since the pipes were closely miked, whenever Fox changed stops, the tape would pick up an ungodly crash of the pneumatic stop mechanism. During recordings, at each change, Fox would pause for 5 or 6 beats, and the stop change would later be cut out of the tape. This led to some interesting glitches in the rhythm of the finished pieces, but those of us who've loved this program for 20 years since it first came out on LP wouldn't have it any other way.
The program is interesting, with many relaxing familiar tunes. If you own one CD of this fabulous organ, this should be the one.
What Can I Say - Excellent Organ Music!.......2002-12-14
I first heard this collection in 1968 when I bought it on 8-track cartridge. Not one boring piece on it! The music on this CD and the organ used to make the recording, plus V. Fox himself are combined to make this CD indispensible to those who really like "classical" organ music. As far as I'm concerned, if you're in the market for only one classical organ CD, do not, I repeat, DO NOT buy and play this one 'cause you'll only wind up buying the rest of the Fox collection.
This collection is definitely the flagship in terms of piece selection, interpretation, and musicianship. Second only to the organ in the Atlantic City Convention Center, the Riverside Church Aeolian-Skinner as heard on this CD is guaranteed to pull out every emotion every single time you play it.
Includes the rare and beautiful Dvorak "Songs My Mother Taught Me", played with the full dynamic and tonal range by argueably the best organist to date (whatever happened to E. Power Biggs?)!
The Art Of Virgil Fox.......2000-05-29
In classical circles, Virgil Fox has been the leading name for classical organ in the last several decades. He has done more to popularise classical organ than any other performer. The Art of Virgil Fox is only one example, but an excelent one. The clarity of the recording itself is unsurpassed. The organ is extremly hard to record and still have the depth of the insturment itself, as well as the artistry of the performer. It usually sounds like a big loud thing. However, between the recording technique and the artist himself, it is excelent. One gets a feeling of emence space and tends to drift with the music. Which is the most anyone can hope for. I had the privalage to meet Virgil Fox sometime before his death, and it was to date one of the most memorable times of my life. He was a great artist and human being. This recording only scratches the surface of his talent. It is definatly a must have item. After listening to this album, all preconcieved notions of "classical music" will blow out the window. I strongly recommend it.
You need this one!.......1999-12-29
This CD is comprised of transcriptions for organ. Ole Virgy explores the vast tonal resources of the wonderful Aeolian-Skinner pipe organ in the Riverside Church. From the bombastic chords of "A Mighty Fortress" to the lush sounds of Liszt's Liebestraume No. 3, you will find yourself immersed in beautiful auditory impressions. No one knows transcriptions like Ole Virgy. This would make a nice addition to the Virgil Fox collection, but only after you have bought his Encores CD.
Average customer rating:
- Best of the best!
- The Best Classical Compilation Ever Created
|
CBS Dinner Classics: Dinner for Two
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Similar Items:
- CBS Dinner Classics: Romance
- CBS Dinner Classics: Sunday Brunch, Vol. 2
- Dinner Classics: The Italian Album
- CBS Dinner Classics: Breakfast in Bed
- Dinner Classics: The French Album
ASIN: B00000277H
Release Date: 1991-01-09 |
Tracks:
- Vocalise, Op.34, No.14
- Nocturne In E-Flat Major, Op.9, No.2
- Nocturne For String Orchestra
- Sadko: Song Of India
- Scheherazade, Op.35: The Tale Of The Young Prince And The Young Princess: III - Andantino
- The Snow Maiden, Op.12: Melodrama
- Symphony No.2 In E Minor, Op.27: III - Adagio
- Etude In E Major, Op.10, No.3
- None But The Lonely Heart, Op.6, No.6
- On Wings Of Song, Op.34, No.2
- String Quartet, No.1, Op.11: Andante Cantabile
- Liebestraum (Dream Of Love)
Customer Reviews:
Best of the best!.......2006-12-31
I have listened to most of the CBS Masterworks Dinner Classics series and have 3 favorites, which I never tire of. Those 3 are: Dinner for Two, The Italian Album and The French Album. Sunday Brunch would be a close 4th. All these albums have the most lyrical and soothing music, all performed by top rate orchestras. I've bought 40 or 50 classical tapes/CDs over the years, but I keep going back to these Dinner Classics favorites. Dinner for Two is the best of the best! You will never get tired of this most awesome music!
The Best Classical Compilation Ever Created.......2001-04-19
This CD includes some of the most beautiful classical music ever composed, from well known pieces to almost obscure works, resulting in a compilation disc that is yet to be surpassed. The music is perfect for a romantic evening, background for an intimate party or simply personal reflection and relaxation. The music is superbly orchestrated and performed with pure grace.
Average customer rating:
- Another adventurous collection from the wonderful Ms. Upshaw
- World So Wide
- Dawn, why?
- A Wonderful Selection of Arias from American Operas
- "All velvet and diamonds."
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The World So Wide
Manufacturer: Nonesuch
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Similar Items:
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- Long Time Ago - Copland / Dawn Upshaw & Thomas Hampson
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- Dawn Upshaw Sings Rodgers & Hart
ASIN: B000006E4F
Release Date: 1998-05-26 |
Tracks:
- Laurie's Song
- This is Prophetic
- What a Movie
- Oh Yemanja (Mother's Prayer)
- Willow Song
- Lonely House
- Give Me Some Music
- Ain't it a Pretty Night
Amazon.com
This refreshing jewel of 20th-century opera arias allows Upshaw to put her personal stamp on music written for a variety of voice types. While some are more successful than others, they're all performed with intelligence and musciality--an Upshaw trademark. Her consistently even tone along with her commitment to sensitive interpretation and precise diction is impressive. The most beautiful of these arias (Copland's "The World So Wide," Floyd's "Ain't It a Pretty Night") capture the brilliance of American homegrown musical lyricism, as the cornucopia of musical sounds flows like a waterfall from magical orchestral mountains. Upshaw's jubilance inspires joy for the listener as well. --Barbara Eisner Bayer
Customer Reviews:
Another adventurous collection from the wonderful Ms. Upshaw.......2006-08-24
On reflection, it's amazing that Dawn Upshaw has made a major career for herself without recording a note of Verdi, Wagner, Puccini, or Strauss. She's far from being a bread-and-butter soprano, as this marvelous colleciton of mostly obscure arias from mostly obscure American operas displays. The title aria form copland's The Tender Land sets the overall tone of rapt, romatnic charm. Her voice is too light to sing Barber's Celopatra onstage, but it works well in the studio, and the more popsy numbers, such as Delilah's big song from Bernstein's Trouble in Tahiti, call on Upshaw's excellent crossover skills. Another revelation is how good Joh Adams's Nixon in China music sounds when performed expressively by a major artist.
Renee Fleming released a similar collection on Decca ("I Want Magic"), but the two CDs couldn't be more different. Upshaw is touching, informal, spontaneous, and charming. Fleming tires for the big effects, boosting the music (not too successfully) into the ralms of grand opera.
In all, I'm deeply grateful for every unusual program Upshaw delivers. Now that there are more than a dozen of them, we can see how beautifully she has managed a career devoted to music that few other major stars come close to trying.
World So Wide.......2001-08-26
This is not one of my favorite Dawn Upshaw albums, mainly because of the choice of music. The selections, generally, are quite dark and often lack lyrical continuity, which certainly has nothing to do with Upshaw. However, as a lost art form, they are still quite worth recording, but don't expect an easy-listening experience or to be humming the tunes around the house as is the case with Upshaw's broadway albums. That being said, Upshaw does a fantastic job with this selection of music, though she is a bit bright at times. The album is worth buying simply for the recording of the "Willow Song" from the Ballad of Baby Doe. Upshaw's interpretation is wonderful and the voice is obviously well-suited to the piece. In fact, I'm tempted to prefer her version over Beverly Sills' original. Bernstein's "What a Movie" shows Upshaw at her funniest-a great piece. And, as usual, one is amazed by her fantastic technique, which makes up for the brightness in the voice.
Dawn, why?.......2001-05-12
I used to be a huge Dawn Upshaw fan back when she put out her first few recordings. But, now she is one of my very least favorite singers. Why? The excessive nasality, the ridiculous swooping, and the overdone ...mannerisms. On top of that, she has lost the roundness in her upper register (as evidenced by places in Ain't it a Pretty Night). This music doesn't need someone to treat it like a cabaret showtune to be effective, it just needs to be beautifully sung. Once upon a time, I thought Ms. Upshaw was just the person to do this kind of performance...
I realize that there are diehard Upshaw fans out there that will completely disagree with me. This is just a warning to those that dislike this sort of approach to singing.
A Wonderful Selection of Arias from American Operas.......2001-04-27
The music on this CD is very beautiful and represents a wide variety of American opera. Dawn Upshaw does tend to scoop every now and then, but overall she does a good job. I would recommend this CD to anyone who enjoys opera.
"All velvet and diamonds.".......1999-10-08
"Beautiful" has pretty much gone out of fashion as a much abused and now empty word. And yet, I can't think of a word that would more accurately describe Dawn Upshaw's "The World so Wide." It is just that: sheer beauty. The incredible dynamic range of Upshaw's voice is a perfect match for this thoughtful selection of stylistically very different, and demanding contemporary pieces. Going from ironic, witty grit of Bernstein's "What a movie," to poignant restraint of "Mother's Prayer," and softly romantic exuberance of Moore's "Willow Song," this brilliant this CD doesn't disappoint for even a moment. In its last piece, Floyd's "Ain't it a Pretty Night," where Upshaw sings, literally, to the stars, she seems to effortlessly soar just as high. A great CD, it is indeed "all velvet and diamonds."
Average customer rating:
|
Söderström sings Liszt, Schubert, Tchaikovsky, etc.
Manufacturer: BBC Legends
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Grieg, Edvard
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- Thomas Hampson - Romantic Songs by Berlioz, Wagner and Liszt / Geoffrey Parsons
ASIN: B0000CABI6
Release Date: 2003-10-21 |
Average customer rating:
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100 Golden Classics
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ASIN: B000026EEJ
Release Date: 2000-06-20 |
Average customer rating:
- Top of the line - incredible!
- Long-awaited follow-up to "Dark Eyes"
- ANOTHER WONDERFUL ALBUM FROM DMITRI
- Dmitri at his best
- Hvorostovsky in his Milieu
|
I Met You, My Love
Hvorostovsky , Orbelian , and Moscow Chamber Orchestra
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Moscow Nights
- Kalinka: Russian Folk Songs
- Where Are You, My Brothers?
- Dmitri Hvorostovsky - Passione di Napoli
- Dmitri Hvorostovsky in Concert 1998
ASIN: B00006DU10
Release Date: 2002-07-30 |
Tracks:
- I Met You, My Love
- No, It's Not You I Love So Fervently
- Only Once
- Bright Is The Night
- I Remember The Charming Sound Of The Waltz
- O, If Only I Could Express In Sounds
- Do Not Awaken Memories
- The Coachman's Song
- In The Wide Open Field
- The Lonely Coach Bell Rings
- Misty Morning
- But I Love You, Nevertheless
- The Troika Speeds, The Troika Gallops
- The Autumn Wind Moans Mournfully
- At The Fateful Hour
- I Loved You
- The Weeping Willows Slumber
- You Cannot Understand
- Shine, Shine, My Star
Customer Reviews:
Top of the line - incredible!.......2007-05-13
If I could give this 100 stars I would do it. Since my trip to Russia in 2006 I "discovered" Dmitri Hvorostovsky, and have since purchased much of his music on CDs and DVDs. All tracks on this particular CD are incredibly beautiful - beyond imagination. Mr. Hvorostovsky was rightfully chosen the "Best Singer of the World" when he was a young man. His lush, full baratone voice is, as the young generation says, "to die for". He has an impressive range, and one can tell he feels music deeply by the nuances in his singing. This CD is one of my favorites of his singing.
Long-awaited follow-up to "Dark Eyes".......2003-01-04
Ever since "Dark Eyes", one of the first albums of Dmitri Hvorostovsky, came out, I've been wishing for the baritone to record more Russian romances. Looks like Delos is more committed to preserving this magnificent voice on record more than Philips did. After all, "Dark Eyes" had a lot of orchestral music, though wonderfully performed by Ossipov orchestra, it effectively reduced the sang material by some about 15 minutes or so. This is certainly not the case here. Well oven an hour of excellent singing is recorded (close-miked) with no interruptions. The songs themselves are the ones most often performed as encored by Russian singers. While baritones or basses have the strongest claim to them, most likely stemming from a long Russian tradidion of low male voice solo, tenors and even mezzo-sopranos have performed some of those to great acclaim.
The absolute hardest thing about performing these songs is not to make them sound sappy, vulgar, or over-done. Of all Russian singers who dealt with this material, I most often think of bass Boris Shtokolov, who sang them with utmost care. Dmitri does just that here. His care for the texts is what strikes me first while listening to "I Met You", a reflective serenade to love long lost. While all songs are spectacularly presented, I would like to mention "Misty Morning" and "I loved you". Like the title song, they are both filled with gentle melancholy, and sang with great tenderness and feeling. Some high-energy items, such as "Troika" seem just a little out of place, but the voice is a sheer pleasure to listen to. In "Oh, Could I in Song Tell My Sorrow", there's a strange change from traditional "your heart would break" to "my heart would break". I am not sure as to why this was done, particularly since the Cyrillic texts are absent.
In liner notes, Hvorostovsky explains the dedication of this