Now and Them

now and them

Track Listings
1. I'm Your Witch Doctor
2. What's the Matter Baby
3. Truth Machine
4. Square Room
5. You're Just What I Was Looking for Today
6. Dirty Old Man (At the Age of Sixteen)
7. Nobody Loves You When You're Down and Out
8. Walking in the Queen's Garden
9. I Happen to Love You
10. Come to Me
11. Walking in the Queen's Garden [Mono Single Mix]
12. I Happen to Love You [Mono Single Mix]

Now and Them,Them,Rev-Ola,Blues-Rock,British Invasion,Freakbeat,Garage Punk,Pop,Psychedelic,Rock,Rock & Roll,Rock/Pop

Now and Them
King Arthur
Average customer rating: 4.5 out of 5 stars
  • We Will Go Home
  • Good music
  • Want to hear Gladiator II?
  • King Arthur
  • Hans' Best
 King Arthur
Hans Zimmer
Manufacturer: Hollywood Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Kingdom of Heaven
  2. The Last Samurai
  3. Gladiator: Music from the Motion Picture
  4. Alexander
  5. Troy: Music From The Motion Picture (Score)

ASIN: B0002IQIWE
Release Date: 2004-07-27

Tracks:

  1. Tell Me Now (What You See)
  2. Woad To Ruin
  3. Do You Think I'm Saxon?
  4. Hold The Ice
  5. Another Brick In Hadrian's Wall
  6. Budget Meeting
  7. All Of Them!

Amazon.com

What are legends if not for reinventing -- and/or hyper-inflating into Hollywood summer fare? In retooling the Arthurian legend for the goth-beguiled video game age, mega-producer Jerry Bruckheimer did away with details small (the lady in the lake, sword in the stone, etc.) and large (this Arthur is actually Eastern European, by way of Rome). Composer Hans Zimmer picks up that gauntlet, producing an orchestral score bristling with massed brass, chorus and percussion -- if little of the indigenous mysticism that made his work on Gladiator/ so rewarding. What there is of that precious commodity is frontloaded via the song "Tell Me Know (What You See)," his evocative opening collaboration with Clannad's Moya Brennan. From there, Zimmer emphasized this version's Eastern conceits with a half-dozen suites of cues that thunder in the Russian classical tradition -- and all the melodic range of "Jingle Bells." Zimmer--not to mention Poledouris--has done it better, but fans of outsized orchestral Gothic moodfests may yet take this one to heart. --Jerry McCulley

Customer Reviews:

5 out of 5 stars We Will Go Home.......2007-07-13

Does this soundtrack include "We Will Go Home," the song Vorna sings to the men in the bar before they find out about their new mission?

4 out of 5 stars Good music.......2007-05-16

I'm a huge Hans Zimmer fan, his scores are rich and deep. This is not his best, but it's still a great listen.

2 out of 5 stars Want to hear Gladiator II?.......2007-04-12

In the end, this is the only relevant question; do you want to hear a more melodramatic version of Gladiator? More melodramatic, you ask?
And you better believe it, Hans Zimmer actually managed to blow up his sound from Gladiator even more, and I really didn't think this was possible, mainly because I thought it would sound utterly pathetic and over the top. And make no mistake, Zimmer's King Arthur is just that.

I am reviewing this score in retrospect, and it is truly fascinating to do that. When you look at other composers and make a little journey to their past, you usually find more creativity. The further back you go, the more original and fresh music you find. With Hans Zimmer, it's the opposite. With each year you go back, his scores just get more dreary, and that's saying alot because his latest works also don't really qualify as schoolbook examples for colourful scoring.

From Gladiator to Pirates Of The Caribbean 2, Hans Zimmer has yet to come forth with a truly fresh and unique score. Zimmer never, ever, not in a million years, escapes his usual box. And King Arthur is no exception whatsoever. From the get go, 20 horns are amassed and play a overly simplistic motif somewhere between a and A, the strings mush together in midrange, melodramatic chords, and dwell in the shallow realm of overbearing dullness.
I don't understand how an artist - and the art of film composing is severely underrated - can be content with repeating the same thing over and over. If I were Hans Zimmer, I would be embarassed by now to even write one more note for that droning bass.
To top it all off, Zimmer incorporates an Enyaesque voice that is easy on the ears, but in the end signifies nothing, does nothing and does all that with an amazing lack of substance.

That is, amongst others, the major difference between a serious film composer and Hans Zimmer: a good and skillful film composer takes an average film like King Arthur and makes it sound like something worthwhile. Hans Zimmer on the other hand embraces mediocrity and underlines it to create an even more average film.

5 out of 5 stars King Arthur.......2007-04-09

I recently purchased this particular soundtrack, and i would have to say it is awesome. Hans Zimmer is a master at what he does. The music suits the film and since I loved the film I had to get the soundtrack. I loved the song Tell Me Now by Moya Brennan, and Another Brick in Hadrians Wall is the best song im my opinion on the soundtrack. Overall I'm so glad I bought this soundtrack and I rate it up there with the likes of Gladiator, Pirates of the Carribean. Keep up the good work Hans

4 out of 5 stars Hans' Best.......2007-03-12

Hans Zimmer is a film composer with dozens and dozens of scores under his belt. Many who do not collect or even listen to film scores know his name. However, much if his film music sounds very similar and lacks a complex edge that other compose like John Williams, James Horner, and James Newton Howard deliver.

That said, King Arthur is Hans' most intriguing score to date. Backdraft and Gladiator (overrated) were very good, but this score is a departure from Hans' usual motifs. The only bad part for me(not related to the music itself) is that there are only seven tracks and each are very long. I like shorter tracks so I can pinpoint the themes or variations I want to lsiten to, but this is extremely minor. The music is great, and I reccommend you go enjoy Hans' best music yet.
Mendelssohn: Elijah
Average customer rating: 4.5 out of 5 stars
  • Wonderful, but not my first choice
  • THE BEST recording of the BEST oratorio ever...
  • Too bad there are so few recordings of Elijah
 Mendelssohn: Elijah

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Franz Joseph Haydn: The Creation
  2. Mendelssohn - Elijah / Terfel, Fleming, Bardon, Ainsley, Fulgoni, Paul Daniel
  3. Mahler: Das Lied von der Erde
  4. Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw
  5. Brahms: Ein deutsches Requiem [A German Requiem]

ASIN: B0002XV31A
Release Date: 2005-02-15

Tracks:

  1. Introduction: As God The Lord Of Israel Liveth
  2. Overture
  3. No.1 Help, Lord! Wilt Thou Quite Destroy Us?
  4. No.2: Lord! Bow Thine Ear To Our Prayer!
  5. No.3: Ye People, Rend Your Hearts
  6. No.4: If With All Your Hearts
  7. No.5: Yet Doth The Lord See It Not
  8. No.6: Elijah! Get Thee Hence
  9. No.7: For He Shall Give His Angels Charge Over Thee
  10. Recitative: Now Cherith's Brook Is Dried Up
  11. No.8: What Have I Do To Do With Thee?
  12. No.9: Blessed Are The Men Who Fear Him
  13. No.10: As God The Lord Of Sabaoth Liveth
  14. No.11: Baal, We Cry To Thee: Hear And Answer Us!
  15. No.12: Call Him Louder, For He Is A God!
  16. No.13: Call Him Louder! He Heareth Not!
  17. No.14: Lord God Of Abraham, Isaac And Israel!
  18. No.15: Cast Thy Burden Upon The Lord
  19. No.16: O Thou, Who Makest Thine Angels Spirits
  20. No.17: Is Not His Word Like A Fire?
  21. No.18: Woe Unto Them Who Forsake Him!
  22. No.19: O Man Of God, Help Thy People!
  23. No.20: Thanks Be To God!

Tracks:

  1. No.21: Hear Ye, Israel; Hear What The Lord Speaketh
  2. No.22: Be Not Afraid, Saith God The Lord
  3. No.23: The Lord Hath Exalted Thee
  4. No.24: Woe To Him, He Shall Perish
  5. No.25: Man Of God, Now Let My Words Be Precious
  6. No.26: It Is Enough; O Lord Now Take My Life
  7. No.27: See, Now He Sleepeth
  8. No.28: Lift Thine Eyes To The Mountains
  9. No.29: He, Watching Over Israel, Slumbers Not
  10. No.30: Arise, Elijah, For Thou Hast A Long Journey
  11. No.31: O Rest In The Lord
  12. No.32: He That Shall Endure To The End, Shall Be Saved
  13. No.33: Night Falleth Round Me, O Lord!
  14. No.34: Behold! God The Lord Passed By!
  15. No.35: Above Him Stood The Seraphim
  16. No.36: Go, Return Upon Thy Way
  17. No.37: For The Mountains Shall Depart
  18. No.38: Then Did Elijah The Prophet Break Forth
  19. No.39: Then Shall The Righteous Shine Forth
  20. No.40: Behold, God Hath Sent Elijah
  21. No.41: But The Lord, From The North Hath Raised One
  22. No.41a: O Come Everyone That Thirsteth
  23. No.42: And Then Shall Your Light Break Forth

Customer Reviews:

4 out of 5 stars Wonderful, but not my first choice.......2007-04-07

I believe this was the first recording of Elijah in English that used an "international" conductor and some international singers. Fruhbeck gives a good, dramatic sweep to the piece, with some wonderful dramatic moments. This is an old fashioned performance, with only a solo quartet, and if there is a semi-chorus, I can't tell the difference. This means that the soprano is the Widow, and an Angel, the mezzo the Angel and Queen Jezabel, etc. You really should have a libretto, but you don't get one at this price.
Fischer-Dieskau roughens up his voice for the role, and therein lies a problem. The voice spreads and his diction suffers because of it; that and his unidiomatic pronounciation, with far too many rolled "r"s. He does the drama well, but what works well in lieder works here less well on the large scale. Odd, given his success as on opera singer (check out his Iago), that here he frequently comes off blustery.
Dame Gwyneth Jones belies her reputation and gives a contolled, dramatic performance, using her "edge" to advantage in "Hear Ye, Israel". Gedda's diction is amazing, with exactly the right color for this literature, and projecting a little more blood than an English tenor.
Dame Janet Baker is my star in this performance. Dramatic, heart-rending when need be, and in wonderful voice. She'll chill your blood when she tells the people of Baal to "slaughter him, do what he hath done!".
And as for the people of Baal, the Philharmonia Chorus is wonderful. Incisive and dramatic, with beautiful tone. I could do without the trick of the boy choir for "Lift Thine Eyes", and I miss the small ensembles, but all in all a fine performance, and good recording, circa 1968.
First choice in English, Daniels/Terfel: better Elijah in Terfel, better recording, more authentic orchestra, small vocal ensembles (as per the score) but inferior women (including Fleming: beautiful tone, but where's her head?). In German, it's Sawallisch/Adam all the way.
But if you're singing Elijah, and have a score, this is a good choice.

5 out of 5 stars THE BEST recording of the BEST oratorio ever..........2006-08-15

Okay, I'm gonna admit I'm biased- I first sung in the chorus of Elijah when I was 14 and it made a BIG impression on me!
This recording is in every way wonderful. Starting with Dietrich Fischer-Dieskau. He IS Elijah to me. His singing is perfection. He has amazing phrasing and his diction makes it possible to understand the lovely, inspired libretto to this heavenly music. There are so many pieces that are ephemeral, but a couple of my favorites are: #14, Lord God of Abraham and #37, For the Mountains shall Depart. Dieskau does a great job of what I think of as compassionate, heartfelt singing. His interpretation sounds like the voice of God himself. It has a quality of kindness and yet he sounds just as convincing reprimanding the people of Baal. He is the true highlight of this recording.

That said, the rest of the cast is wonderful as well. Gwyneth Jones has a lovely, silvery voice that has a clarion bell-like tone that rings over the large orchestra with ease. She has occasional "misfire" but is a consistent performer. Dame Janet Baker and Nicolai Gedda both perform at a consistently lovely level. The orchestra and chorus are both wonderful. #15, Cast thy Burden upon the Lord, #32 He that Shall Endure to the End, and #38 Then Did Elijah are all highlights.

All said, for me the main reason to get this recording is Dieskau's Elijah- after all, he's the main character. But don't forget the lovely music. This story is exciting and passionate and sacred all at the same time. For me, it's the best oratorio that has a moving story and great music too.

4 out of 5 stars Too bad there are so few recordings of Elijah.......2006-07-03

This is a good recording of an oratorio that deserves more attention. The chorus and soloists are very good--I just wish Fischer-Diskau wouldn't slide around so much in singing the title part!
Instruments of the Orchestra
Average customer rating: 4.5 out of 5 stars
  • 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
 Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
  2. The Life and Works of Ludwig van Beethoven
  3. What to Listen for in Music
  4. Study of Orchestration, Third Edition
  5. The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

  1. Overture To 'Tannhauser'
  2. Domna, Pos Vos Ay Chausida
  3. We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
  4. Hungarian Dance No.7
  5. The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
  6. Violin Concerto In D Major (Adagio)
  7. But For A Long Time It Was Seen As The Instrument Of The Devil.
  8. The Soldier's Tale: Triumphal March Of The Devil
  9. The Manipulative Seductiveness Of The Gypsy Violin.
  10. Csardas Music
  11. The Violin And The Initiation Of Nature
  12. The Four Seasons (Spring, Mvt 1)
  13. Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
  14. The Four Seasons (Summer, Mvt 1)
  15. Like The Devil, The Violin Is A Master Of Disguise.
  16. Old Viennese Dance No.3 'Schon Rosmarin'
  17. The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
  18. Tzigane
  19. Do We Now Have The True Measure Of This Instrument? Not Just Yet.
  20. Caprice No.24
  21. 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.
  22. Variations On A Theme Of Frank Bridge (No.7)
  23. Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
  24. Romeo And Juliet: Act IV
  25. Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
  26. The Four Seasons (Winter, Mvt 1)
  27. The Violin Muted
  28. Clair De Lune
  29. The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
  30. Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
  31. The Pizzicato Violin
  32. Pizzicato Polka
  33. In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
  34. Violin Concerto No.2 In G Minor (Slow Mvt)
  35. 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...
  36. The Planets (Mars - The Bringer Of War)
  37. 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
  38. Hungarian Dance No.4
  39. Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
  40. The Four Seasons (Autumn, Mvt 1)
  41. Now The Same Technique, But The Sound Might Have Come From Another World.
  42. Bolero
  43. Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
  44. Cadenza To The Violin Concerto By Brahms
  45. Now Compare That With A Real Violin Duet.
  46. Forty-Four Duos (No. 1: Teasing Song)
  47. Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
  48. Forty-Four Duos (No.2: Maypole Dance)
  49. And Now What May Be The Most Beautiful Accompanied Violin Duet In History
  50. Concerto In D Minor For Two Violins (Largo)
  51. The Soul Of The Violin Is In Song; But What About This Weird Passage?
  52. Violin Concerto No.1 In D Major (Mvt 2)
  53. The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
  54. Symphony No.1 'Titan' (Mvt 1, Opening)
  55. Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
  56. The Sleeping Beauty (Act II, No.15: Entr'Acte)
  57. Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
  58. Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
  59. Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
  60. The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
  61. Also Sprach Zarathustra (Of The Afterworldsmen)
  62. Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
  63. Variations On A Theme Of Frank Bridge (No. 4)
  64. Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
  65. Four Sea Interludes (Dawn) From 'Peter Grimes'
  66. To End This Outing With The Violins, A Charming Little Elfin Dance
  67. Elfenreigen

Tracks:

  1. Introduction To The Viola
  2. Viola Concerto (Mvt 1)
  3. Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
  4. Gayane Suite No.1 (Armen's Solo)
  5. Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
  6. Passacaglia, Op.33b From 'Peter Grimes'
  7. 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.
  8. Harold In Italy (Mvt 4)
  9. The Muted Viola: Intimate, Gentle, Poignant In Dvork
  10. Cypresses (No.9)
  11. The Massed Violas Of The Modern Symphony Orchestra In Mahler
  12. Symphony No.4 (Mvt 3)
  13. The 'Period' Viola In Bach
  14. Brandenburg Concerto No.6 (Last Mvt)
  15. The Cello: A Voice Of Unique Nobility
  16. Suite No.1 For Unaccompanied Cello (Prelude)
  17. Brahms And The 'Soul' Of The Cello
  18. Piano Concerto No.2 In B Flat Major (Mvt 3)
  19. Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
  20. Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
  21. In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
  22. Symphony No.3 'Eroica' (Finale)
  23. But The Cello Is Not Condemned To Spend Its Life In The Basement.
  24. Elfentanz, Op.39
  25. Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
  26. The Protecting Veil (Opening)
  27. A Cello With An Identity-Crisis: The Pizzicato Flamencan
  28. Flamenco
  29. Double-Stopping In The Lower Reaches Of The Cello's Range
  30. Solo Suiet For Cello And Piano (Sardana)
  31. It's In The Middle Register That The Cello Really Comes Into Its Own.
  32. Oriental Dance, Op.2 No.2
  33. 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.
  34. Symphony No.9 (Finale)
  35. Introduction To The Double-Bass
  36. The Carnival Of The Animals (The Elephant)
  37. But The Double-Bass Can Be Intensely Expressive And Graceful.
  38. Elegy No.1 In D Major
  39. 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.
  40. Capriccio Di Bravura
  41. 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)
  42. 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....
  43. Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

  1. The Antiquity And Magic Of The Flute
  2. Prelude A L'Apres-Midi D'Un Faune
  3. The Versatility And Agility Of The Flute
  4. Orchestral Suite No.2 In B Minor (Badinerie)
  5. The Flute In Fifteenth-Century Spain
  6. Sa'Dawi
  7. Other Flutes: The Bass And Alto
  8. Chamber Music No.II
  9. The Piccolo - Aptly Named
  10. La Naissance D'Osiris (Mvt 6)
  11. From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
  12. Suite No.1 For Small Orchestra (Valse)
  13. A Variety Of Techniques
  14. Chamber Music No.II
  15. Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
  16. The Nutcracker (Act II, No.2: Scene)
  17. From The Transverse To The Vertical: The Baroque Recorder
  18. Recorded Suite In A Minor (Menuet II)
  19. An Unfamiliar, Early Vision Of The Instrument
  20. Naelden, Naelden
  21. The Bachian Oboe
  22. Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
  23. Introduction To The Cor Anglais Or 'English Born'
  24. Symphony No.9 'From The New World' (Mvt 2)
  25. The Loneliness Of The Cor Anglais
  26. The Swan Of Tuonela
  27. The Cor Anglais Joins The French Horn In Haydn.
  28. Symphony No.22 'The Philosopher' (Opening)
  29. Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
  30. Bolero
  31. 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...
  32. 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)
  33. As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
  34. Gayane Suite No. 1 (Mvt 5)
  35. 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).
  36. The Range Of The Normal Clarinet Parts Goes Quite High...
  37. The Snow Maiden (Scene 5: Melodrama)
  38. ...And Quite Low.
  39. Peter And The Wolf (The Cat)
  40. The Clarinet As Concerto Soloist
  41. Clarinet Concerto In A Major (Rondo)
  42. But That's Not The Instrument Mozart Wrote It For; This Is:
  43. Clarinet Concerto In A Major (Rondo)
  44. Introduction To The Saxophone
  45. Hary Janos Suite (Mvt 4)
  46. The Soprano Saxophone Has Quite A Different Feel To It.
  47. L'Arlesienne Suite No.1 (Minuet)
  48. The Little Sopranino Sax Goes Even Higher.
  49. Bolero
  50. The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
  51. Pictures At An Exhibition (The Old Castle)
  52. The Saxophone Can Be Quite Contagiously Good-Humoured.
  53. Sax-O-Phun
  54. The Puffa-Puffa Image Of The Bassoon
  55. Peter And The Wolf (Grandfather)
  56. The Bachian Bassoon, In Accompanimental Mode
  57. Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
  58. Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
  59. And Ravel, Also In Spanish Mode, Does Likewise.
  60. Bolero
  61. The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
  62. Symphony No.3 (Opening)
  63. The Eerie Bassoon In Its Highest Register
  64. The Rite Of Spring (Opening)
  65. Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
  66. The Firebird Suite (1919, Berceuse)
  67. The Bassoon As Concerto Soloist, Avoiding All Exaggeration
  68. Bassoon Concerto In G Minor (Finale)
  69. The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
  70. Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
  71. The French Horn Under Its Woodwind Hat
  72. Wind Quintet, Op.43 (Last Mvt)
  73. Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
  74. Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
  75. The Horn In Harmonious Blend With Strings In Another Quintet
  76. Horn Quintet, K.407 (Finale)

Tracks:

  1. The Trumpet As Virtuoso Soloist
  2. Brandenburg Concerto No.2 (Last Mvt)
  3. The Special Brillance Of Paired Trumpets
  4. Concerto In C For Two Trumpets, RV537 (Mvt 1)
  5. The Ceremonial Trumpet
  6. Fanfare For The Common Man
  7. Trumpets And Drums - An Incomparable Alliance
  8. Messiah (The Trumpet Shall Sound)
  9. The Versatility Of The Trumpet, From The Most Public To The Most Lonely
  10. Piano Concerto In F (Slow Mvt)
  11. 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
  12. Carmen Suite No.2 (Habanera)
  13. The Trumpet As The Voice Of Strength And Courage
  14. Carmet Suite No.2 (Toreador's Song)
  15. The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
  16. Billy The Kid
  17. The Trumpet As Character Actor
  18. Pictures At An Exhibition (No.6)
  19. The Trumpet As The Voice Of God
  20. Mass In B Minor ('Et Exspecto')
  21. The Birth Of The Trombone
  22. Aenmerckt Nu Hier
  23. The Birth Of The Brass As A Family
  24. Canzon 12 In Double Echo
  25. The Trombone In The Eighteenth Century
  26. Trombone Concerto In B Flat Major (Finale)
  27. 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.
  28. Hosannah
  29. The Trombones Become Part Of The Orchestra.
  30. Symphony No.5 (Finale)
  31. The Wagnerian Trombone:/Overture To 'Tannhauser'
  32. The Trombone As Caricaturist
  33. Pulcinella (No.19: Vivo)
  34. The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
  35. The Horn And The Hunt
  36. Horn Concerto No.4 In E Flat, K.495 (Finale)
  37. The Challenging Horn Of The Baroque
  38. Abaris Ou Les Boreades (Menuet)
  39. The Scarcity Of First-Rate Players In Handel's Time
  40. Walter Music (Minuet 1)
  41. The Horn As Magician/The Firebird Suite (1919, Finale)
  42. Horns And The Sound Of Nobility
  43. Overture To 'Tannhauser' (Opening)
  44. The Special Sound Of The Horn In Its Higher Register
  45. Mass In B Minor ('Quoniam Tu Solus Sanctus')
  46. The Trumpet-Like Sound Of Massed Horns
  47. Symphony No.3 (Mvt 1, Opening)
  48. The Tuba - Unfairly Maligned?
  49. Symphony No.6 (Mvt 3)
  50. The Tuba Perfectly Cast By Ravel
  51. Pictures At An Exhibition (Bydlo)

Tracks:

  1. Introduction. And We Begin With A Bang.
  2. Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
  3. At The Opposite Extreme Is The Triangle.
  4. Piano Concerto No.1 In E Flat (Scherzo)
  5. Categories Of Percussion: Tuned And Untuned. The Side Drum
  6. Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
  7. The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
  8. The Tambourine. One Of The Oldest Instruments In The World
  9. Den Hoboecken Dans
  10. Even Older Is The Originally Oriental Gong.
  11. Ma Mere L'Oye - Mother Goose (Laideronette)
  12. 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.
  13. Gymnopedie No.2
  14. 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...
  15. 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)
  16. More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
  17. Rodeo (Hoe-Down)
  18. 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.
  19. Scherzi Musicali (Damigella Tutta Belle)
  20. A Still Earlier Example From Fifteenth-Century Spain
  21. Yo M'Enamori D'Un Aire
  22. The Birth Of The Bongo
  23. Symphonic Dances From 'West Side Story'
  24. From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
  25. Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
  26. From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
  27. Onwards To The Tuned Percussion. First, The Timpani
  28. Also Sprach Zarathustra (Introduction)
  29. But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
  30. Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
  31. Taking Advantage Of Tunability
  32. Music For Strings, Percussion And Celeste (Mvt 2)
  33. 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.
  34. Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
  35. Saint-Saens And The Xylophone
  36. The Carnival Of The Animals (Fossils)
  37. Ravel And The Xylophone
  38. Ma Mere L'Oye - Mother Goose (Laideronette)
  39. Introducing The Marimba/Carmen Suite (First Intermezzo)
  40. Introducing The Vibraphone
  41. The Treasure Of The Sierra Madre (Narange Dolce)
  42. The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
  43. Introducing The Hungarian Cimbalom
  44. Folk Dances
  45. The Cimbalom And The Symphony Orchestra
  46. Hary Janos Suite (Mvt 3)
  47. Introducing The Tubular Bells
  48. Hary Janos Suite (Viennese Musical Clock)
  49. A More 'Up-Front' Approach From Rodion Shchedrin
  50. Carmen Suite (Introduction)
  51. But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
  52. Introducing The Celeste
  53. The Nutcracker (Dance Of The Sugar Plum Fairy)
  54. Magic, In The Use Of Collective Percussion
  55. Miroirs (La Vallee Des Cloches)
  56. Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
  57. 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
  58. The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
  59. Brandenburg Concerto No.2 (Slow Mvt)
  60. The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
  61. Petrushka (Russian Dance)
  62. The Anti-Romantic Piano As An Integral Part Of The Orchestra
  63. Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

  1. Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
  2. Symphony No.3 'Organ' (Finale)
  3. But Things In Handel's Day Were Very Different.
  4. Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
  5. The Organ Is Difficult To Classify.
  6. An Unexpected, Organ-related Guest
  7. Concerto Pour Zampogna (Last Mvt)
  8. Peasant-Fancying... And A Touch Of The Roaming Cowboy
  9. Les Miserables (Drink With Me)
  10. Outside Artefacts And The Power Of Association
  11. Mahler's Sleighbells
  12. Symphony No.4 (Opening)
  13. A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
  14. Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
  15. Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
  16. Don Quixote (Variation VIII)
  17. National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
  18. And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
  19. And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
  20. The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
  21. The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
  22. The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
  23. The Sitar Of India/Evening Raga: Bhapoli
  24. The Accordion For France (Especially Paris)/Paris Canaille
  25. The Zither For Vienna/The Third Man (Theme)
  26. The Cimbalom For Hungary/Folk Dances
  27. The Guitar As An Integral Part Of The Orchestra/Rondena
  28. There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
  29. The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
  30. Nocturnes
  31. Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
  32. The Carnival Of The Animals (The Cuckoo)
  33. The Flute As An All-purpose Aviary
  34. The Carnival Of The Animals (The Aviary)
  35. The Oboe As Duck
  36. Peter And The Wolf (The Duck)
  37. The Recording Of Reality. Does It Work As Well?
  38. The Pines Of Rome (The Pines Of The Janiculum)
  39. The Recording Of Reality Electronically Reborn In New Guises
  40. Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
  41. Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
  42. Symphony No.6 'Pastoral' (Andante Molto Mosso)
  43. Some Improbable Casting: The Violin As Braying Donkey
  44. The Carnival Of The Animals (Persons With Long Ears)
  45. A Truly Orchestral Hee-haw To Be Reckoned With
  46. Overture To 'A Midsummer Night's Dream'
  47. A Thunderstorm In A Million
  48. Symphony No.6 'Pastoral (Allegro-Allegretto)
  49. the Instrumental Depiction Of A Silent World
  50. The Carnival Of The Animals (The Aquarium)
  51. Saint-Saens' Menagerie Takes A Curtain Call.
  52. The Carnival Of The Animals (Finale)

Tracks:

  1. The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
  2. Forty-Four Duos (No.4)
  3. A Great Contrast, Of Both Pitch And Character: Violin And Viola
  4. Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
  5. Arrival Of The Standard String Trio: Violin, Viola, And Cello
  6. String Trio In B Flat (Menuetto)
  7. The String Quartet: Two Violins, Viola, And Cello
  8. String Quartet In F, Op.18 No.1 (Mvt 3)
  9. The String Quintet - When The Extra Instrument Is A Second Viola
  10. String Quartet No.5 In D, K.593 (Adagio)
  11. The String Quintet - When The Extra Instrument Is A Second Cello
  12. String Quintet In C (Mvt 3)
  13. The String Sextet: Two Violins, Two Violas, And Two Cellos
  14. String Sextet In B Flat (Mvt 2)
  15. The String Octet: The Standard String Quaret Times Two
  16. Octet In E Flat, Op.20 (Mvt 1)
  17. Double The String Octet: A Fully Fledged String Orchestra
  18. String Symphony No.2 (Finale)
  19. The Massed Strings Of A Symphony Orchestra
  20. Fantasia On A Theme Of Thomas Tallis
  21. Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
  22. Wind Quintet In A Minor, Op.100 No.5 (Theme)
  23. In The First Variation It's The Horn That Gets The Lion's Share.
  24. Wind Quintet In A Minor, Variation 1
  25. In Variation Two The Torch Is Handed To The Bassoon.
  26. Wind Quintet In A Minor, Variation 2
  27. In Variation Three The Oboe Leads.
  28. Wind Quintet In A Minor, Variation 3
  29. Variation Four: Conversation Before Returning To A Solo-dominated Texture
  30. Wind Quintet In A Minor, Variation 4
  31. And Variation Five is Dominated By The Clarinet.
  32. Wind Quintet In A Minor, Variation 5
  33. The Next To Be Featured Is The Virtuoso Flute.
  34. Wind Quintet In A Minor, Variation 6
  35. Individual Farewells And A Closing Chorus
  36. Wind Quintet In A Minor, Variation 7
  37. A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
  38. Octet In F (Mvt 3)
  39. The Early Classical Symphony Orchestra Of Haydn And Mozart
  40. Symphony No.29 In A, K.201 (Finale)
  41. Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
  42. Canzon 28
  43. Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
  44. Symphony No.5 (Finale)
  45. From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
  46. Beethoven Changed The Face Of The Symphony And The Orchestra Forever
  47. Symphoy No.6 'Tragic' (Mvt 1)
  48. The Cult Of Orchestral Elephantiasis Reaches Its Peak.
  49. Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
  50. When Large Doesn't Necessarily Mean Loud: Debussy
  51. Images (Gigues)
  52. A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
  53. Turangalila Symphony (Chant D'amour 1)
  54. The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
  55. Balle De Xerxes (Gavotte En Rondeau)
  56. Computer And Synthesiser: Friends Or Foes?
  57. Concerto In D Minor For Two Violins (Largo)
  58. A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

5 out of 5 stars 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!

5 out of 5 stars 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!

5 out of 5 stars 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!

3 out of 5 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.

5 out of 5 stars 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.
Come, Gentle Night: Music of Shakespeare's World
Average customer rating: 5 out of 5 stars
  • Ensemble Galilei's music is lilting, elegant and unexpected!
  • beautiful
  • Excellent!
  • It will bring about many gentle nights
  • Visualizing Beauty
 Come, Gentle Night: Music of Shakespeare's World

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

Baroque Dance SuitesBaroque Dance Suites | Ballets & Dances | Classical | Styles | Music | Allemandes | Courantes | Gigue | Sarabande
Purcell, HenryPurcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
Character PiecesCharacter Pieces | Short Forms | Forms & Genres | Classical | Styles | Music
Incidental MusicIncidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Purcell, Henry | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Keyboard | Instruments | Classical | Styles | Music
Ensemble GalileiEnsemble Galilei | ( E ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Chamber Music | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Similar Items:
  1. From The Isles To The Courts
  2. Shakespeare Songs
  3. Songs and Dances from Shakespeare
  4. The Renaissance Album (Windham Hill)
  5. Music In The Great Hall: Instrumental Music From The Ancient Celtic Lands

ASIN: B0000478S3
Release Date: 2000-01-25

Tracks:

  1. Mister Issac's Maggot, Chestnut (Dove's Vagary)
  2. Woodycock
  3. Death's Second Self
  4. Jack's Health, Vale Of Years, Jack's Health Reel
  5. Come, Gentile Night
  6. Departe, Departe, The Cobbler's Hornpipe, Third Act Tune
  7. But Let Them Go, Ladies, Sight No More
  8. In A Garden So Green, Childgrove
  9. Fire, Burn, and Cauldron Bubble
  10. The Asp
  11. Rumble Thy Bellyful
  12. Pastime With Good Company, O Lusty May
  13. Irish Lament
  14. Joy To THe Person Of My Love
  15. The Winter's Tale Set: Love's Winter Light, Apples In Winter, Drive The Cold Winter Away, Jenny Pluck Pears
  16. Lilli Burleo
  17. The Scottich Play Set: Life Is But A Walking Shadow, Mill, Mill O', Pawky Adam Glen
  18. Heart's Ease, Now That The Spring, Gathering Peascods
  19. No Longer Mourn For Me

Customer Reviews:

5 out of 5 stars Ensemble Galilei's music is lilting, elegant and unexpected!.......2002-11-29

With their soulful playing and artful, sometimes even ephemeral arrangements, the six women of Ensemble Galilei convey a rare depth of emotion. In the insert notes, gamba player Carolyn Ann Surrick describes their creative process: "[In making this recording, we engaged in]...a kind of work that is so focused and intense that years can go by in one afternoon... Extraordinary music-making requires trust... [We] live for the times when the only thing that exists right then is the music--when the instruments are speaking as if we don't exist, and they are having their own conversation." Thank you, Ensemble Galilei, for allowing the rest of us the privilege of coming along for the ride! It's simply delectable. This chamber ensemble, featuring fiddle, harp, gamba, oboe, pipes and percussion, can also be heard on their other Telarc release, "From the Isles to the Courts", and "The Mystic and the Muse: Celebrating 600 Years of Women in Music", on the Dorian label.

5 out of 5 stars beautiful.......2001-01-22

Sheer beauty, as a lover of English music I found this to be one of the most beautiful of all Shakespearean albums. Such harmony, such subtlety, one wishes that the gentle night will never stop.

4 out of 5 stars Excellent!.......2001-01-04

Ensemble Galilei provide some excellent arrangements of English renaissance compositions. I believe that John Playford (English Dancing Master) fans will be particularly satisfied with the renditions presented here. It is very unfortunate that E.G. did not provide more arrangements from such early music sources. Some of E.G.'s own compositions seem very weak and not in the renaissance spirit of the rest of the CD. Nonetheless, this CD is highly recommmended.

5 out of 5 stars It will bring about many gentle nights.......2000-11-22

I found this album to be solid. Very sweet, but not afraid to use percussion which makes it livelier and more fun. I adore the quiet, peacefulness of the music and the flawless execution of these renaissance songs.

5 out of 5 stars Visualizing Beauty.......2000-08-20

I recently had the good fortune to direct a performance of King Lear--the ENTIRE five acts, in a community theatre, non-profit setting. I used twenty-four fully committed non-actors, who for the love of the ideas, participated in this performance. The first and main challenge that I faced was, how do I go "behind" the words, and invoke the right emotions, etc., to give these actors the range and tools needed for an effective, powerful performance? Critical to this performance was the beauty and brilliance of this recording, which I used throughout the various scenes of the play. This helped the performers tremendously, creating the different tapestries in the mind of the Bard. In short, this work is real genius, that I was so happy that I stumbled across. I am now putting in our performance programs, along with our most heart-felt thanks to E.G., the name of the recording and I have copies from Telarc to sell at each performance!
Holocaust Cantata
Average customer rating: 4 out of 5 stars
  • A Timely Performance
  • Outstanding; a soon to be classic
  • Uninspired tedium
  • Holocaust Cantata: A Five Star Work of Art
  • An excerpt from my liner notes...
 Holocaust Cantata

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Opera & Vocal | Styles | Music
GeneralGeneral | Classical | Styles | Music
Similar Items:
  1. Composers of the Holocaust: Ghetto Songs & Instrumental Works
  2. MUSIC FROM THE HOLOCAUST
  3. Rossini: Petite Messe solennelle
  4. Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps (Oxford Historical Monographs)
  5. Forbidden Music: Music from Theresienstadt

ASIN: B000031VRF
Release Date: 1999-11-23

Tracks:

  1. The Prisoner Rises
  2. Singing Saved My Life
  3. Song Of The Polish Prisoners
  4. The Execution Of The Twelve
  5. In Buchenwald
  6. A State Of Seperation
  7. The Train
  8. Singing From Birth To Death
  9. The Striped Ones
  10. There's No Life Like Life At Auschwitz
  11. Tempo di Tango
  12. Letter To Mom
  13. Song Of Days Now Gone
  14. Passacaille For Cello And Piano
  15. Even When God Is Silent
  16. A Child's Journey: An Accidental Meeting
  17. A Child's Journey: I Once Had A Friend
  18. A Child's Journey: There Are No Stars In The Sky
  19. Is Not A Flower A Mystery?
  20. We Remember Them

Album Description

The Holocaust Cantata uses the words and music of actual concentration camp inmates to create a wholly original and powerful work. Using material found within the archives of the United States Holocaust Memorial Museum, Donald McCullough's Holocaust Cantata traverses one of the bleakest episodes in human history. Yet the piece also evokes a sense of music's life-affirming power, even in the face of absolute despair, to express what words alone cannot.

McCullough discovered the material within the vast Aleksander Kulisiewicz collection in the museum's archives. Kulisiewicz himself had performed as a kind of camp troubador during his own incarceration at Sachsenhausen, and, after the war, spent several years interviewing fellow survivors about music in the camps, gathering together the scattered remnants of this music.

As McCullough painstakingly sifted through this material-much of which was uncatalogued-the arresting melodies and compelling testimonies that make up the Holocaust Cantata gradually began to emerge. "I wanted the Cantata to speak with a sense of immediacy," says McCullough, explaining his decision to set the choral texts and spoken testimonies in English, and his hope is that the piece may "transform statistics into people in the minds of the Cantata's listeners, and perhaps be a part of making it more difficult for such a horror ever to occur again." The Washington Post, reviewing the world premiere in March 1998, called it "an experience that should linger long in the audience's memory and should be regularly revived."

Customer Reviews:

5 out of 5 stars A Timely Performance.......2001-11-18

In August of 2001, the choral group I sing with began practicing this work for performance on Veteran's Day Nov 11. We rehearse on Tuesday nights. As we all know on Tuesday Sept 11 the world change forever. Of course rehearsal was cancelled. When we returned the next Tuesday - a piece that we all thought was so powerful became more so. The first song contains the words "the fires burning, the iron furnace..". The paralells to what happened were evident. As one of the reviewers noted " so this can never happen again", well it has, only much faster, in one single day. Hate caused both events. People need to hear this CD and really listen to the words of the songs and the narration, and maybe we can prevent this from happening again and again. A MUST HEAR FOR ALL THE PEOPLE OF THE WORLD. The music and lyics came from the hearts and the lives of the prisoners.This is a beautiful tribute to them.

5 out of 5 stars Outstanding; a soon to be classic.......2000-05-04

Beautifully written and performed! This recording and an encore live performance of this inspiring work were downright demanded by audiences after the premiere. I rate it a "strong buy."

1 out of 5 stars Uninspired tedium.......2000-04-28

McCullough has appropriated other people's material, "choralized" it, and appears to be attempting to capitalize on a wave of political correctness to buy himself a Grammy nomination. There are a few nice tunes scattered throughout this tedious piece, but overall the interpretation is lifeless, unimaginative, and uninspired, almost clinical. Here's hoping that victims of the Shoah can find a more suitable expression of their music than McCullough has tried to give them. They deserve better than this.

5 out of 5 stars Holocaust Cantata: A Five Star Work of Art.......2000-01-07

For me, the Holocaust Cantata is one of those artistic representations of that cataclysmic period that evokes an even stronger picture of the horrors of the Holocaust then do many pictures in newspapers and museum exhibits. I think this is because the Cantata is poetry-it's message sounds a spare and powerful truth. I am grateful to Mr. McCullough for his vision and energy in bringing about the Holocaust Cantata.

5 out of 5 stars An excerpt from my liner notes..........1999-11-25

I was present at the March 1998 Kennedy Center premiere of this extraordinary work, and subsequently wrote the liner notes for the CD. Because of the unusual nature of this recording-which I think captures the haunting beauty of this work-I believe that others would be interested in reading an excerpt from my notes on the music. Please note that I am posting this material with the permission of the composer, Donald McCullough:

Notes on the Music

It is well-known that during the Holocaust inmates wrote music while incarcerated in concentration camps. Much of it has since been recorded. At Theresienstadt, for instance-the infamous "Paradise Ghetto"-the Nazis organized an orchestra made up of young musicians who had studied under such luminaries as Leos Janacek and Arnold Schoenberg. Most of these musicians, among them such promising students as Gideon Klein and Viktor Ullmann, perished during the Holocaust, leaving behind but a few pieces, composed under duress and co-opted by the Nazis for their own propaganda purposes. What might they have eventually accomplished had they survived? Such classical music-beautiful as it is-was the product of formally trained musicians. What about the music of the common man-music embraced by the whole community and passed secretly by aural transmission-music that carried with it powerful words revealing different aspects of camp life, or expressing the inmates' innermost feelings, of mourning, or resistance, or patriotism? Was there other Holocaust music, akin to the spirituals that sprang from slavery in America, that spoke with the same startling immediacy to express the agony of the victims of the Nazi regime?...

McCullough's [quest to answer this question] began with a call to Bret Werb, musicologist at the United States Holocaust Memorial Museum, who revealed the existence of the Aleksander Kulisiewicz collection in the museum archives. Kulisiewicz had traveled about Europe during the postwar period collecting and preserving what he could of the music that had emerged from the Holocaust concentration camps, but little was known about the music itself.

McCullough's first task, then, was to immerse himself in the collection, playing through the hundreds of tunes. He was encouraged to find that they contained some compelling melodies, and for the first time he began to wonder whether a choral cantata-perhaps reflecting the role of music in the camps or evoking the daily lives of these people-might emerge from the material. But he still had no idea what lay within the accompanying text.

At some point, someone had added a rough, English-language index to the collection, but the materials themselves were mostly in Polish. Marcin Zmudzki, a young Pole, was engaged to sift through the mountain of texts. McCullough told the translator that he was interested in anything that had to do with camp life, especially as it related to music. As he recalls, "It was my good fortune that not only was Marcin an excellent translator, but also he had a sense for poetry and thus grasped, very quickly, the type of material I was seeking."

In addition to music, Kulisiewicz also collected interviews, articles, and letters that had anything to do with camp life. With this wealth of material, McCullough decided to place between each musical arrangement readings that also spoke of life in the camps. After considering and rejecting literally hundreds of documents, he finally decided that he had what he needed from the archives. But in a sense, the real work was just beginning. "Because I wanted the Cantata to speak with a sense of immediacy," says McCullough, "I thought it should be sung in English. But before I could arrange a single note of it, I needed to have singable translations. Here I employed the talents of lyricist Denny Clark, who at first worked with Marcin, getting a word by word translation. Knowing which words appear on which notes is important in keeping the overall impact of the song." A trained singer himself, Clark was able to make transliterations to ensure that the best vowels for singing fell on the proper notes, all while remaining faithful to the original text. It was an immensely complicated task....

A few words about the structure of the Cantata. As you listen you should not look for a plot, as such. Because each song and reading represents a different person, a different place, and a different time in the Holocaust experience, you should be wary about viewing the entire piece as a streaming narrative. Nonetheless, certain common truths will begin to emerge, and no doubt others will come to you with each successive hearing. Among these is the certainty that these are nakedly honest responses to the most unthinkable of acts. Sometimes the responses are jarring; who could find humor amid such horror? And yet humor-albeit dark in nature-undoubtedly exists within this work. Nevertheless the inmates' responses never sink to the level of triteness. For them, music functioned as something much more than just a light in the darkness; its very existence was a form of spiritual resistance in an environment where such resistance risked instant extermination.

McCullough's hope is that this work may "transform statistics into people in the minds of the Cantata's listeners, and perhaps be a part of making it more difficult for such a horror ever to occur again." In the end, for me, the work flows inexorably back to its source: it is the voice of humanity, crying out to be heard.
Hamlet: Original Motion Picture Soundtrack (1996 Film)
Average customer rating: 4.5 out of 5 stars
  • Hamlet sound track - Patrick Doyle
  • Beautiful masterpiece!!
  • Fantastic collaborations
  • Patrick Doyle's finest score
  • sudhir
 Hamlet: Original Motion Picture Soundtrack (1996 Film)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Henry V: Original Soundtrack Recording (1989 Film)
  2. Much Ado About Nothing: Original Motion Picture Soundtrack
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ASIN: B0000029V8
Release Date: 1996-12-10

Tracks:

  1. The Original Motion Picture Soundtrack Of 'Hamlet': In Pace
  2. The Original Motion Picture Soundtrack Of 'Hamlet': Fanfare
  3. The Original Motion Picture Soundtrack Of 'Hamlet': 'All That Lives Must Die'
  4. The Original Motion Picture Soundtrack Of 'Hamlet': 'To Thine Own Self Be True'
  5. The Original Motion Picture Soundtrack Of 'Hamlet': The Ghost
  6. The Original Motion Picture Soundtrack Of 'Hamlet': 'Give Me Up The Truth'
  7. The Original Motion Picture Soundtrack Of 'Hamlet': 'What A Piece Of Work Is A Man'
  8. The Original Motion Picture Soundtrack Of 'Hamlet': 'What Players Are They'
  9. The Original Motion Picture Soundtrack Of 'Hamlet': 'Out Out Thou Strumpet Fortune'
  10. The Original Motion Picture Soundtrack Of 'Hamlet': 'To Be Or Not To Be'
  11. The Original Motion Picture Soundtrack Of 'Hamlet': 'I Loved You Once'
  12. The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh, What A Noble Mind'
  13. The Original Motion Picture Soundtrack Of 'Hamlet': 'If Once A Widow'
  14. The Original Motion Picture Soundtrack Of 'Hamlet': 'Now Could I Drink Hot Blood'
  15. The Original Motion Picture Soundtrack Of 'Hamlet': 'A Foolish Prating Nave'
  16. The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh Heavy Deed'
  17. The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh Here They Come'
  18. The Original Motion Picture Soundtrack Of 'Hamlet': 'My Thoughts Be Bloody'
  19. The Original Motion Picture Soundtrack Of 'Hamlet': 'The Doors Are Broke'
  20. The Original Motion Picture Soundtrack Of 'Hamlet': 'And Will 'A Not Come Again?'
  21. The Original Motion Picture Soundtrack Of 'Hamlet': 'Alas Poor Yorick'
  22. The Original Motion Picture Soundtrack Of 'Hamlet': 'Sweets To The Sweet - Farewell'
  23. The Original Motion Picture Soundtrack Of 'Hamlet': 'Give Me Your Pardon Sir'
  24. The Original Motion Picture Soundtrack Of 'Hamlet': 'Part Them They Are Incensed'
  25. The Original Motion Picture Soundtrack Of 'Hamlet': 'Goodnight, Sweet Prince'
  26. The Original Motion Picture Soundtrack Of 'Hamlet': 'Go Bid The Soldiers Shoot'

Customer Reviews:

3 out of 5 stars Hamlet sound track - Patrick Doyle.......2006-03-10

I spent a lot of time trying to get hold of this CD but I must say I am mildly disappointed. I thought Patrick Doyle's music for Branagh's Henry V was brilliant and that was why I was determined to obtain this sound track as well. Henry V is not Hamlet in terms of theme and plot but I think the music here tends to be too low key and lacking in drive, unlike Henry V. It is still very good in places and clearly the work of an excellent composer, but not quite up to Doyle's previous standard.

5 out of 5 stars Beautiful masterpiece!!.......2002-02-22

Patrick Doyle has truly composed an awesome piece of work. The score is so well done that you can feel the emotion coming through the music alone. This is by far my favorite soundtrack and I listen to it quite often.

5 out of 5 stars Fantastic collaborations.......2001-06-12

Doyle fans are aware that he collaborates regularly with actor/director, Kenneth Brannagh. With the Hamlet score, he again writes powerful complementary music which also stands alone as worthy to be performed in concert. I would be interested to hear lengthier tracks such as accompanied the lengthy, but indeed beautiful and patient, movie. (The only mistake was Billy Crystal in the movie. I thought Robin Williams did fine work.) Although, I confess, this is my least listened to in my soundtrack collection, I do enjoy it, and believe it deserves accolades.

5 out of 5 stars Patrick Doyle's finest score.......2000-06-26

This is certainly one of my top 3 Patrick Doyle scores and a towering achievement. The score unfolds like a great romantic symphony encompassing several moods from serenity and inner peace ("In Pace"), to violence and lush gothic undertones ("The Ghost", "Now, could I drink hot blood"), and a finaly sense of joyous celebration ("Fanfare", "What Players are they?"). After listening constantly to Mr. Doyle's scores for "Henry V", "Much ado about nothing" and "Frankenstein", I thought he could never top such achievements and somehow he did: "Hamlet" is a masterpiece of thematic inventiveness and dramatic power. The playing is wonderful and the engineering is very clear, taking full advantage of Air Lyndhurst's glorious acoustics. If you are a fan of british classical music or a Shakespeare fan (or even better, a fan of Patrick Doyle), don't pass up this CD. Great film music. No: great music. Period!

5 out of 5 stars sudhir.......1999-12-02

the movie album is very good .and kate in the movie is very beatiful and she looks very good
Now and Them
Average customer rating: 5 out of 5 stars
  • Without Van the Man
 Now and Them
Them
Manufacturer: Rev-Ola
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008RH9G
Release Date: 2003-07-01

Tracks:

  1. I'm Your Witch Doctor
  2. What's the Matter Baby
  3. Truth Machine
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  5. You're Just What I Was Looking for Today
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Customer Reviews:

5 out of 5 stars Without Van the Man.......2005-08-14

these guys went to L.A. and made this superb west coast psychedelic album. highlight is of course walking in the queens garden:
now you got the point,
i dont do another joint
i m walking in the queens garden
i m walking in the queens garden
one of my alltime favs...
be sure to check Them: Time out for Time in
with the best Them Song: Dirty Old Man(At the age of 16)
the Now and Them features only a funky version of this song
but on time out time in are all versions of this hymn(mono single version is best!)
BUY IT A MUST HAVE if you like pretty things, sonics, litter or what ever!!!
Conquerors
Average customer rating: Not rated
    		Conquerors

    Manufacturer: The Acappella Company
    ProductGroup: Music
    Binding: Audio CD

    GospelGospel | Christian & Gospel | Styles | Music
    ASIN: B000CAGW7S
    Release Date: 2004-12-21
    Now & Them
    Average customer rating: 4.5 out of 5 stars
    • Freeland proves he can play in the big leagues
    • A hit collection
    		 Now & Them
    Freeland
    Manufacturer: Import [Generic]
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Dance & DJ | Styles | Music
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    ASIN: B0000AQVER
    Release Date: 2003-09-30

    Tracks:

    1. We Want Your Soul
    2. Mind Killer
    3. Burn the Clock
    4. Big Wednesday
    5. Heel 'N' Toe
    6. Physical World
    7. Supernatural Thing
    8. Reality 3D
    9. L.I.F.E.
    10. Nowism

    Album Details

    Freeland Unleash their Debut Album "Now and Them", a Thoroughly Modern Proposition. In Short, Freeland Are Two Nutty Chileans, a Bald Wizard Drummer, a Soul Diva and a DJ. A Living, Breathing Band with Adam Freeland at the Heart.

    Customer Reviews:

    4 out of 5 stars Freeland proves he can play in the big leagues.......2007-05-31

    "Now & Them" is Adam Freeland's debut artist album since the breakup of Tsunami One, his old outfit with Kevin Beber. Most DJs can't write music to save their own skin, as we have seen in the past several years. Suddenly, when it comes to coming up with their own tunes and not simply taking credit for or remixing others, they fall flat on their faces. Freeland, however, avoids this completely. This is a genuinely GREAT album, with amazing production. Freeland's writing skills are SUPERB here, it really is refreshing to know that not all DJs are incompetent. Freeland has stated in many interviews that he hates the copycat nature of electronic music, wherein somebody comes up with a great idea and everyone else makes that idea into a rigid formula and plays it to death (insert trance music here). You can hear this line of thought in "Now & Them", there is a grand total of ONE formulaic track, but it's still done creatively and well. Do NOT expect an album of breakbeats, you will be disappointed. Instead, don't expect anything and you'll like it.

    (9/10) "We Want Your Soul" starts you out with a scathing blast against American capitalism. A spoken female vocal really inspires the kind of angst that builds up in a certain kind of individual. Meanwhile a male announcer reinforces the notion that you are being told what to like. This is all overtop of a good solid standard breakbeat with stabbing guitars. "We Want Your Soul" is very interesting; rarely do we hear this type of song from the electronica community. It's like Rage Against the Machine going electronic...you really have to hear for yourself to understand what I mean...

    (8/10) "Mind Killer" follows up with a great blast of VERY heavy beats, big guitars, huge basslines, and a fairly decent rap overtop. Definitely a head bobbing track that is very unique. Great production throughout! The rap could have a few more verses in it, but I think Freeland wanted to focus on instrumentation in this one.

    (8/10) "Burn the Clock" is another great instrumental tune. It was used in a Calvin Klein ad, featuring Kate Moss of all people! Really interesting rhythms, and great basslines again! Freeland is clearly focussed on crafting solid tunes, as opposed to going for crowd pleasers. There is great layering and pace to this track, and definitely more head bobbing too.

    (9.5/10) "Big Wednesday": easily the best song on the album. Featured in "The Animatrix", this is an unbelievably smooth tune. A great walking beat with just a hint of background fuzz provides the scaffolding for some GREAT effects that roll overtop of the beat, rebounding in time with that great beat. Freeland avoids the build-it-up, tear-it-down style and instead provides a focussed and well written piece that is never boring, very polyphonic and extremely hypnotic. It's not ambient, but its not breakbeat, its just great stuff, really. Samples a clip from "South Park" at the end too!

    (8/10) "Heel 'n Toe" dives headfirst into hip-hop, but Freeland keeps his style apparent underneath the rap. A fairly decent tune, with a catchy chorus and great focus on rhythm. Not quite as good as the first four tracks, but a good catchy tune with a pretty decent rap too.

    (6/10) "Physical World" is pretty odd and a bit off focus. Didn't catch me in any way. Some ok rhythms in there, but not a great song.

    (6/10) "Supernatural Thing" also flops. Too little is in this song, and the vocals are pretty annoying and cheesey. There's far too much empty space in too many spots of this song.

    (8/10) "Reality 3D" Freeland returns to some great rhythms. This one's a bit more repetitive, but the rhythms make up for it. A spoken philosophical train of thought over some well crafted beats. Not too rushed, but not laid back either.

    (6.5/10) "L.I.F.E" is another boring tune that just didn't rub me the right way. Not much to it, and also lacks focus.

    (7.5/10) "Nowism" falls more into ambience, and improves over L.I.F.E., but is still a beat weak in some areas. A fairly decent tune to end on though.

    Overall,"Now & Them" is really great. Only a couple of stinkers, but the first 5 tracks cancel them out big time. This is well crafted and carefully thought out music. Great beats, Freeland has a WONDERFUL sense of rhythm. This is one DJ album that is worth pursuing.

    5 out of 5 stars A hit collection.......2004-03-13

    I never listened to the first album by Adam Freeland, but I'm impressed by this one. The opening title is a jewel ("We want your soul", with cuts from Bill Hicks), and then the hits keeps on going: "Mind Killer", "Burn the clock", "Big Wednesday" very Aphex Twin, "Heel 'n' toe" with its insane break beats, the soulful "Supernatural thing", the dub "L.I.F.E.", and the quiet extro of "Nowism". This album takes you from the intro, and doesn't let you down til the end.
    Israel in Egypt, oratorio, HWV 54
    Average customer rating: Not rated
      		Israel in Egypt, oratorio, HWV 54

      Manufacturer: Coro
      ProductGroup: Music
      Binding: Audio CD

      All Works by HandelAll Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music
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      ASIN: B00008OP0N
      Release Date: 2002-03-25

      Album Description

      Of all Handel's great oratorios, Israel in Egypt is second only to Messiah in drama. It is dominated by massive virtuosic choruses, making it the perfect piece for The Sixteen, acknowledged by audiences and critics alike as "one of the great choirs of our day" (Gramophone).

      It's not surprising that Israel in Egypt is much-performed. Hailstones and lightning, buzzing flies and leaping frogs, are all brilliantly evoked for choir and orchestra in a series of incisive choruses leading us excitedly through the plagues of Egypt and the crossing of the Red Sea as we follow Moses and the Children of Israel through the story of the Exodus. The epic nature of the story could not be more suited to Handel's genius for story-telling and drama.

      This CD is based on the first published edition (1771), omitting five arias and two short choruses.

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      1. Now, Center of Time
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      7. Noxious Saucy Beast [Explicit Lyrics] [EP]
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      10. Nuggets [Import]

      Rock Music

      rock music