All the Rage

all the rage

Track Listings
1. You're the One
2. Stand in Line
3. Until I Find Her
4. Jack's Day Off
5. Girl of Mine
6. Judy
7. Entering the Black Hole
8. Be My Doll
9. What You See
10. Hard Cash
11. I'll Come Back
12. Into My Eyes
13. Death Car
14. That's Your Problem
15. I'll Come Back (Reprise)

All the Rage,The Waistcoats,Wildebeest Records,Pop,Rock,Rock/Pop

All the Rage
All the Rage
Average customer rating: 4 out of 5 stars
  • love it!
  • Ready for the reissue treatment
  • TENDERNESS
  • Catchy and enjoyable
  • More than just another 80s Synth-Pop Sounding Group
 All the Rage
General Public
Manufacturer: A&M
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001I0R
Release Date: 1990-10-25

Tracks:

  1. Hot You're Cool
  2. Tenderness
  3. Anxious
  4. Never You Done That
  5. Burning Bright
  6. As A Matter Of Fact
  7. Are You Leading Me On?
  8. Day-To-Day
  9. Where's The Line?
  10. General Public

Amazon.com

General Public's debut is arguably the ska supergroup's best work. Fresh out of the English Beat, Dave Wakeling recruited vocal partner Ranking Roger, as well as bassist Horace Panter (the Specials), keyboardist Mickey Billingham (Dexy's Midnight Runners), and veteran sax man Saxa for this set of shiny pop that is virtually all as infectious as the album's Top 40 hit, "Tenderness." Sure, the English Beat's best grooves found their way into the Fine Young Cannibals, but Wakeling and Roger's breathless vocals and undeniable hooks still shine on this undervalued album. --Bill Forman

Customer Reviews:

4 out of 5 stars love it!.......2007-06-04

I love this CD. It takes me back to the 80's with lots of cool music.

5 out of 5 stars Ready for the reissue treatment.......2005-07-31

This is just a really awesome CD and I'm suprised it hasn't been given the re-issue treatment as of yet. All The Rage was released in late 1984 or early 1985. The US singles were "Tenderness" and "Never You Done That." The album itself contained a lot of different sounding songs. General Public toyed with reggae ala UB40 style on the song "General Public." I enjoy the whole album but really like songs like "Anxious," "Where's The Line," and "Are You Leading Me On?" There are some really great remixes to some of the songs on this album, I hope that it is given the reissue treatment soon.

3 out of 5 stars TENDERNESS.......2005-07-04

1984 Brit pop group dabbling in funk and ska yielded one great song; "Tenderness", a jingly piano-driven, bassoon enhanced, unabashedly sweet, catchy song that contains maybe the most representative line of '80s suppressed left wing agenda, - "I open my mouth and out pops something spiteful.", it rises above the hyperactive vocals and dull routine funk of the other songs, although the song, "General Public", adds Middle Eastern and progressive elements in a grandiose album closing. Band member, Ranking Roger (vocals, keyboards), has put out at least one fine Motown influenced solo album, and Clash guitarist Mick Jones, plays some rough guitar on some of the tracks. The band needs to lean more towards it's tender side than it's frantic funk.

4 out of 5 stars Catchy and enjoyable.......2005-06-18

Nothing spectacular here, just a thoroughly enjoyable pop/new wave/synth/whatever offering from an outfit that probably deserved more attention. Definitely worth getting.

4 out of 5 stars More than just another 80s Synth-Pop Sounding Group.......2004-10-28

My first exposure to General Public came in 1984. I was listening to the original WKTU radio in New York City and this song called "Tenderness" came on then. At the time, this radio station was the "Disco/Dance" radio station in New York. What I distinctly remember about this station was that it was a very different song than the dance numbers that were typically played on this station. Nonetheless, this song caught my attention as well as the attention of many other fans. It turns out that this was a true "crossover" song done by the group General Public. It was part of a collection of ten songs that could easily fall into the "crossover" 80s/Techno-Pop category from General Public's debut album "All The Rage".

In the mid 1980s, the term "Supergroup" became very popular. A Supergroup is basically a group or project whose primary members were in other successful bands. The two most common Supergroups were the Power Station and Mike + The Mechanics. Before either or these Supergroups, there was a Supergroup called General Public. When the English Beat disbanded, vocalists Dave Wakeling and Ranking Roger decided to form a new band. They recruited keyboardist Micky Billingham and drummer Andy "Stoker" Growcott from Dexy's Midnight Runners. Also recruited was bassist Horace Painter ("The Specials") and guitarist Kevin White. Both The English Beat and Dexy's Midnight Runners produced a most unique 80s pop sound that has almost become synonymous with the decade itself. Make no mistake about this, the sounds of both of these groups are alive and well with this "alliance". In a lot of ways the formation of this alliance results in so much more than "80s music".

Here is a quick synopsis of the album song by song:
"Hot You're Cool": This might not be the deepest song in terms of lyrics, but there is a lot more than just an 80s sound on this particular track. There is some terrific saxophone work that makes the melody so terrific.

"Tenderness": This is the signature song of the group. There are a lot of reasons this became the signature song. You will hear Wakeling and Roger's trademark vocals, - but you will hear contributions from just about everyone in the band. I think Billingham's keyboards, Painter's bass, and White's guitar deserve a lot of credit. Justine Carpenter does the background vocals (i.e. "Where is the...") that make this song so special. As mentioned above, this is a crossover song - although I see it more as a Dance song.

"Anxious": Although not the strongest track, here is another track that breaks the 80s mold. This song features a brass section of some trumpet and trombone that helps distinguish it from many other 80s tracks.

"Never You Done That": This was the second single released from this album. Here is a song that definitely walks the tightrope between rock and dance music. This is a pretty good track and the more you hear it, the more you will want to hear it.

"Burning Bright": This is the second best song behind "Tenderness". I am very surprised this song didn't get more airplay. This song opens with some outstanding guitar with a light keyboard overtone. "Stoker"'s drumming is strongest on this track. There is a 1 minute introduction. This isn't as much of an 80s Techno-Pop track as the others, but has much more of a progressive rock sound. This is the song that has the lines "From Moscow to Monterey and From Maine to Mexico" that is printed on the back of the CD.

"As a Matter of Fact": I don't think this is the strongest track, but it isn't a bad track. This song moves back toward the Techno-Pop sound and has much more of a Dance Music feel to it. "Stoker" shines here again with some nice drum work on here.

"Are You Leading Me On": From a lyric and melody standpoint - this song starts out with a Classic 80s Techno-Pop feel to it. About 90 seconds into the song there is a terrific reggae sequence that is a nice change of pace. General Public finds a great way to integrate the reggae into the song and they switch gears flawlessly.

"Day to Day" also starts with a Classic 80s feel to it. Unlike "Are You Leading Me On", it doesn't switch gears. It sticks to the Classic 80s feel. I would say this is the weakest track on the collection.

"Where's the Line": Terrific mix of 80s music with a Carribean Twist. This is a very catchy song and one that is good for the dance floors. Vocals are in top form and once again the horns find their way into a track.

"General Public": I think its great when a group names after song after themselves (or names the group after the song). This song is the perfect wrap-up song. It is a mix of some theatrical qualities and a very European sound. This song too is pretty catchy.

The liner notes contain all of the lyrics to all of the songs. All participating musicians are listed in the credits as well along with some of the production credits. The one drawback of the liner notes is that the lyrics and credits are put into 6 thin columns per page. The result is small fonts and very difficult to read. Following this debut album, General Public's subsequent albums would never achieve the success of this debut album from both a commercial or critical standpoint. Much of this was due to the fact that in the late 80s and early 90s, the music landscape would change and move away from synth-pop to a more natural Rock Sound. However, this is more than just another 80s album - there is some real talent on this collection. You will get so much more than the song "Tenderness". I highly recommend this collection.
All The Rage
Average customer rating: 5 out of 5 stars
  • Too Few Songs, Too Much Money
  • Buy it!
  • Heartbreaking and beautiful
  • Nice debut record
  • Cary is amazing!
 All The Rage
Cary Brothers
Manufacturer: Procrastination Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002PU59Y
Release Date: 2004-08-03

Tracks:

  1. Blue Eyes
  2. Something
  3. Supposed To Be
  4. Honestly

Album Description

"All The Rage" is the debut release from LA-based singer/songwriter Cary Brothers. These four tracks, produced by Chad Fischer (Alexi Murdoch), run the gamut from power pop ("Supposed To Be") to acoustic folk ("Honestly"), but they all share one thing in common - as Cary says, "They're all pretty much straight from the heart, whether it's being broken or put back together."

Cary's song "Blue Eyes" is also featured alongside tracks from Coldplay, The Shins, and Simon & Garfunkel on the soundtrack of the Fox Searchlight film GARDEN STATE, starring Zach Braff, Natalie Portman, and Peter Sarsgaard.

Customer Reviews:

3 out of 5 stars Too Few Songs, Too Much Money .......2006-03-20

I Paid $9 for this CD, and while it is a good cd, there are only 3 songs on it for a total of 14 minutes of listening pleasure. I find this to be a rip off. Do yourself a favor and buy a longer CD for the money.

5 out of 5 stars Buy it!.......2005-09-08

Excellent mini album that includes some music from Scrubs and Garden State. Well worth buying and Cary has another album out this month as well. (If you like this album try Lucky Jim - Our Troubles End Tonight) No need to try before you buy - all 4 songs get 5 stars from me, excellent voice and each song has a different feel to it.

5 out of 5 stars Heartbreaking and beautiful.......2005-08-11

Cary Brothers is an excellent musician and songwriter, and in "All the Rage", he really showcases his talent. I saw him play live in a small indie record store before I even got to hear the EP. I wasn't all that familiar with him but I really like his song, "Blue Eyes" from Garden State. So to say the least, when I saw him perform a mini-concert for the 10 or so people in the store, I was more than impressed, and from that point on I became a fan. I also got to meet him for a few minutes after the show. He was very down-to-earth and seemed humble. For the most part, his songs sound mello and dreamy. A few of his songs boast heartwrenching melodies, especially "Something" which is particulary haunting, and is comparable to "Blue Eyes" if not better. I can't wait until the LP comes out, which he said should come out in this month of August.

4 out of 5 stars Nice debut record.......2005-07-28

Cary Brothers is something of an engima for me-- a folky, rootsy singer-songwriter type, this is pretty far outside the domain of my usual listening, and yet there's something about his music that worked pretty well for me.

What I think it is may be that there's a sense of honesty without pretention that circulates through his record-- when he sings about trying to put a past romance out of his mind and quietly mumbles "I wish your love away", you feel like he does. Brothers' vocals feel like they come from the midwest-- a sort of road weary sound. But he adds to that a good range and roundness of tone that I think is often missing in these forms.

This EP, consisting of four songs, is his debut. Three of the songs are folky pop pieces and one ("Supposed to Be") is a driving alt-pop piece. Although its a decent number, it doesn't quite fit in on the record, and its electric guitars sit somewhat uncomfortably amongst the rest of the pieces on here.

But the rest is all this kind of bluesy, folky pop stuff-- smokey ("Blue Eyes", also featured on the "Garden State" soundtrack), bubbling and delicate ("Something") and wistful and brilliant ("Honesty"). One thing the record definitely indicates, we can expect big things from Brothers. Recommended.

5 out of 5 stars Cary is amazing!.......2005-06-08

Cary Brothers has a wonderful, soothing voice and all the songs on this EP are great! He is one of the best emerging arists right now and I can't wait for him to release a full length album!
Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock
Average customer rating: 4.5 out of 5 stars
  • Ladies & gentleman: The Lord'n Savior, God Almighty
  • So Fashionable, and So Disappointing
  • A nice combination of period nad tradiitonal
  • Wait! Before you buy...
  • La mas bella y fidedigna interpretacion que se pueda obtener
 Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock
George Frideric Handel , Arleen Auger , Anne Sofie von Otter , Trevor Pinnock , The English Concert & Choir , Michael Chance , Howard Crook , and John Tomlinson
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000057DB
Release Date: 1990-10-25

Tracks:

  1. Messiah: Part One - 1. Sinfony (Grave - Allegro moderato)
  2. Messiah: Part One - 2. Accompagnato : Comfort Ye My People
  3. Messiah: Part One - 3. Air : Ev'ry Valley Shall Be Exalted
  4. Messiah: Part One - 4. Chorus : And The Glory Of The Lord Shall Be Revealed
  5. Messiah: Part One - 5. Accompagnato : Thus Saith The Lord Of Hosts
  6. Messiah: Part One - 6. Air : But Who May Abide The Day Of His Coming
  7. Messiah: Part One - 7. Chorus : And He Shall Purify
  8. Messiah: Part One - 8. Recitative : Behold, A Virgin Shall Conceive
  9. Messiah: Part One - 9. Air and Chorus : O Thou That Tellest Good Tidings
  10. Messiah: Part One - 10. Accompagnato : For Behold, Darkness Shall Cover
  11. Messiah: Part One - 11. Air : The People That Walked In Darkness
  12. Messiah: Part One - 12. Chorus : For Unto Us A Child Is Born
  13. Messiah: Part One - 13. Pifa (Pastoral Symphony)
  14. Messiah: Part One - 14. Recitative: There Were Shepherds Abiding In The Field - Accompagnato: And Lo, The Angel Of The Lord - 15. Recitative: And The Angel Said Unto Them - 16. Accompagnato: And Suddenly There Was With The Angel
  15. Messiah: Part One - 17. Chorus : Glory To God In The Highest
  16. Messiah: Part One - 18. Air : Rejoice Greatly, O Daughter Of Zion
  17. Messiah: Part One - 19. Recitative : Then Shall The Eyes Of The Blind
  18. Messiah: Part One - 20. Air : He Shall Feed His Flock
  19. Messiah: Part One - 21. Chorus : His Yoke Is Easy, His Burthen Is Light
  20. Messiah: Part Two - 22. Chorus : Behold The Lamb Of God
  21. Messiah: Part Two - Air : 23. He Was Despised

Tracks:

  1. Messiah: Part Two - 24. Chorus : Surely He Hath Borne Our Griefs
  2. Messiah: Part Two - 25. Chorus : And With His Stripes We Are Healed
  3. Messiah: Part Two - 26. Chorus : All We Like Sheep Have Gone Astray
  4. Messiah: Part Two - 27. Accompagnato : All They That See Him
  5. Messiah: Part Two - 28. Chorus : He Trusted In God
  6. Messiah: Part Two - 29. Accompagnato : Thy Rebuke Hath Broken His Heart
  7. Messiah: Part Two - 30. Arioso : Behold, And See If There Be Any Sorrow
  8. Messiah: Part Two - 31. Accompagnato : He Was Cut Off Out Of The Land
  9. Messiah: Part Two - 32. Air : But Thou Didst Not Leave His Soul
  10. Messiah: Part Two - 33. Chorus : Lift Up Your Heads, O Ye Gates
  11. Messiah: Part Two - 34. Recitative : Unto Which Of The Angels
  12. Messiah: Part Two - 35. Chorus : Let All The Angels Of God Worship Him
  13. Messiah: Part Two - 36. Air : Thou Art Gone Up On High
  14. Messiah: Part Two - 37. Chorus : The Lord Gave The Word
  15. Messiah: Part Two - 38. Air : How Beautiful Are The Feet
  16. Messiah: Part Two - 39. Chorus : Their Sound Is Gone Out
  17. Messiah: Part Two - 40. Air : Why Do The Nations So Furiously Rage
  18. Messiah: Part Two - 41. Chorus : Let Us Break Their Bonds Asunder
  19. Messiah: Part Two - 42. Recitative : He That Dwelleth In Heaven
  20. Messiah: Part Two - 43. Air : Thou Shalt Break Them
  21. Messiah: Part Two - 44. Chorus : Hallelujah
  22. Messiah: Part Three - 45. Air : I Know That My Redeemer Liveth
  23. Messiah: Part Three - 46. Chorus : Since By Man Came Death
  24. Messiah: Part Three - 47. Recitative : Behold, I Tell You A Mystery
  25. Messiah: Part Three - 48. Air : The Trumpet Shall Sound
  26. Messiah: Part Three - 49. Recitative : Then Shall Be Brought To Pass
  27. Messiah: Part Three - 50. Duet : O Death, Where Is Thy Sting?
  28. Messiah: Part Three - 51. Chorus : But Thanks Be To God
  29. Messiah: Part Three - 52. Air : If God Be For Us
  30. Messiah: Part Three - 53. Chorus : Worthy Is The Lamb That Was Slain --- Amen

Amazon.com essential recording

This is a terrific performance of Messiah. Not only are the soloists all superb, but Trevor Pinnock completely contradicts the image of many period instrument performances as small-scale, scrappy affairs. Indeed, he invests the choruses with as much genuine Handelian pomp as Beecham at his most extravagant. The trumpets really blaze, and the timpani thunder, and everyone simply has a great time. A joyous performance, just right for the holiday season. --David Hurwitz

Amazon.com

Trevor Pinnock meets with mixed success in this account of the Messiah with the English Concert & Choir and soloists Arleen Auger, Anne Sofie von Otter, Michael Chance, Howard Crook, and John Tomlinson, recorded and released in 1988. Its strengths are the strengths of the early-music movement in general. The size and distribution of the instrumental and vocal forces are optimal, which means that textures are clear and balances apt. Rhythms are nicely pointed, though often, in Pinnock's case, not quite well enough sprung. Tempos are well chosen; for example, "All we like sheep"--which turns out to be one of the set's best numbers--is a real bourré, and Pinnock animates it in just the right way. But the performance often seems workmanlike and unemotional, weighed down in too many instances by the humdrum work of the chorus. The alto section in particular, which is half male and half female, sings timidly and is constantly swallowing its entrances. Bass soloist John Tomlinson is a further drag on the effort. He has the right idea--that there's an Italian opera hiding behind all this biblical imagery--but his cottony sound is out of place, a misguided attempt to mimic Nicolai Ghiaurov. His usable range is less than a tenth (he croaks the low G's and F-sharps), and his diction is horrible. "Thus spake the Lord" is strangled, and when, in "The trumpet shall sound" Tomlinson gets to the words "we shall be changed," one can't help wishing that he had been changed too, right before the sessions started. --Ted Libbey

Customer Reviews:

5 out of 5 stars Ladies & gentleman: The Lord'n Savior, God Almighty.......2007-06-13

Handel's Messiah is my favorite piece of classical music. Of the two versions that I had I only have left this one, and it is not the best (the other had been a cheap recording whose author's name I forgot too). This version seems to lack a little enthusiasm from the voices; too melancholic. Anyway, this is the first review of any music that I write, and probably will be the last too, so I just want to leave my impression of how I feel when I hear these solemn and heavenly sounds. One feels so raised to the heavenlies... I can almost sense the presence of the Lord Almighty up yonder among the clouds, and me being carried in solemnity to meet Him. Far away are the buzzing sounds of earthly chores. The air is fresh and clean as we are raised above the valleys, and we come to meet God's elected amid the singing, stronger and stronger. Jubilant, bathed in the glorious rays of the Savior's Light, we come together and sing: Glory to God, glory to God, praise and glory for He is coming...

2 out of 5 stars So Fashionable, and So Disappointing.......2007-02-01

This would be a great 21st Century Reader's Digest version of Messiah, if such a thing existed any more. Handel did as much as he could, but really, the performers still have to do something besides posture, which, by the way, seems to me to characterize many performances these days. Fashionable, but musically deficient.

Specifically: John Tomlinson sings like he thinks he IS God, instead of singing about Him. Heavy, cumbersome, and overblown. May I add boorish?

Arleen Auger has a very sweet voice. And??

Despite the program notes insisting that certain segments of this Messiah are given to "the contralto", Anne Sofie von Otter is NOT a contralto. Not even close.

The male alto can barely sustain a legato line - why he insists upon throwing in those complicated, badly-performed embellishments I can't figure. Well, I can, but I'd really rather not say.

Wake up, choristers!! It's 'For Unto Us A Child Is Born," not "Oy, I have to go to the grocery store today."

Boy do I regret having spent almost $40 on this one. Thank goodness I have the Colin Davis to console me.

4 out of 5 stars A nice combination of period nad tradiitonal.......2006-12-17



This 1988 recording sits between the euqally English, euqally period-ifnluenced Hogwood and Garidner. Of the three, Hogwood sounds more 'authentic' because it uses boys in the chorus and singers schooled period practice. By comparison, Pinnock's soprano, Arleen Auger, and mozeeo, Von Otter, are essentially modern singers--gorgeous ones, of course, Gardiner is far more anemic in his conducting and uses a scrwny-sounding orchestra, so if that's more authentic, so be it. Of the three, Pinnock gives us more traditional music values in his emotional expression and instrumental timbres.

The competiiton is mushc stiffer now than in 1988, but Pinnock's reading has survived the test of time. He is not a genuinely inspired conductor--sadly, Messiah has become a cottage industry that excludes most big-name talents--but neither are Gardiner and Hogwood. (For sheer musicality, I tend to put my money on Andrew Parrott, Robert King, Marc Minkowski, Niklaus Harnoncourt, and Rene Jacobs.) But he's certainly good eough. The reason I haven't given five stars is that the male soloists aren't first-rate, and in particular the Wotan voice of John Tomlinson sounds cavernous in the bass arias. Add to that Pinnock's tendency toward tepidness, and what you end up with is a very good but not great performance.

5 out of 5 stars Wait! Before you buy..........2006-05-28

... This Messiah has recently been re-released at a much cheaper price. Go back and look for the DG "The Originals" release, which is being sold new for under $12.

5 out of 5 stars La mas bella y fidedigna interpretacion que se pueda obtener.......2004-12-29

Soy uno de los mas fanaticos seguidores de Handel y de su obra El Mesias... He escuchado muchas versiones de esta genial e impresionante obra del maestro Handel y, sencillamente no me queda mas que recomendar esta interpretacion, bajo la batuta del maestro Trevor Pinnock. Se nota la exigencia con que esta version se interpreto, dentro el contexto del arte barroco y la magnificencia de la pronunciacion del ingles de la epoca. La orquesta se luce impresionantemente desde la obertura... y le da a cada movimiento, toda aquella fuerza y a la vez delicadeza requerida en el sentimiento que aplica en cada uno de los textos biblicos escogidos por el guionista Jennens. El Coro del English Concert es arrebatador y demuestra maestria en la interpretacion de cada una de las arias que le corresponde. La soprano Arleen Auger, la puedo definir como un angel cantando y resulta ser una caricia a los oidos, a la vez que es capaz de arrancarle a uno las lagrimas por lo excelso de su magia interpretativa. El tenor Crook, aunque no es un tenor con tesitura para canto barroco, es realmente habil y agil al momento de interpretar los melismas caracteristicos de este brillante periodo musical. El contratenor Michael Chance, es fenomenal y quiera Dios que yo tenga el honor de conocer a este genio del canto: "But who may abide..." interpretado por Chance en esta version, es como para caer en extasis. La contralto Anne Sophie von Otter..., tiene una voz oscura y redondeada..., tambien resulta una caricia a los oidos y su "If God be for us..." es desbordante, capaz tambien de hacerle a uno derramar lagrimas por su belleza interpretativa. El bajo Tomlinson..., es barbaro!!! (Soy bajo-baritono en el Coro de la Orquesta Sinfonica Nacional de Costa Rica...) A pesar de su voz tan oscura, es tremendamente agil cuando le toca cantar los melismas y es genial al alcanzar la tonalidad brillante en las partes de notas altas y agudas...; por ejemplo: "The people that walked in darkness..." y "Why do the nations..." Tengo seis años de experiencia, interpretando musica coral y tengo que decir que espere esos seis años, desde 1999, para felizmente cantar esta obra "El Mesias". Ha sido fantastico finalmente lograr este objetivo..., la espera valio la pena y debo admitir que mi inspiracion ha sido sin duda alguna, la version que puede usted encontrar en este disco compacto. Doy gracias a todos los que intervinieron en esta grabacion (al maestro Trevor Pinnock, al English Concert and Choir y a los solistas ya mencionados), en nombre mio y en nombre del maestro Handel.
Beethoven or Bust
Average customer rating: 4.5 out of 5 stars
  • One of the best examples of fusion music out there.
  • Dorsey Rocks It Out in Beethoven Style
  • Good Clean Fun
  • Too Electric
  • No Bust
 Beethoven or Bust

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Bachbusters
  2. Busted
  3. Time Warp
  4. The Big Picture
  5. Copland: The Music of America

ASIN: B000003CUI
Release Date: 1990-10-25

Tracks:

  1. Rondo A Capriccio In G Major Op. 129: 'Rage Over A Lost Penny'
  2. Eleven Bagatelles, Op. 119: Mixed Bagatelles - Andante-Allegretto
  3. Six Bagatelles, Op. 126: Mixed Bagatelles - Allegro
  4. Seven Bagatelles, Op. 33: Mixed Bagatelles - Presto
  5. I. Adagio sostenuto: Sonata No. 14 In C-sharp Minor, Op. 27, No. 2 ('Moonlight')
  6. II. Allegretto: Sonata No. 14 In C-sharp Minor, Op. 27, No. 2 ('Moonlight')
  7. III. Presto agitato: Sonata No. 14 In C-sharp Minor, Op. 27, No. 2 ('Moonlight')
  8. 15 'Eroica' Variations, Op. 35: Various Variations
  9. Sonata No. 6 In F Major, Op. 10, No. 2: III. Presto
  10. Six Ecossaises, WoO 83 (1823)
  11. Fur Elise (Albumblatt) WoO 59 (1808)
  12. Sonata No. 18 In E-FLat Major, Op. 31, No. 3: II. Scherzo: Allegretto vivace
  13. Symphony No. 9 In D Minor ('Choral'), Op. 125, Mvt. 4: Ode to Ludwig

Customer Reviews:

5 out of 5 stars One of the best examples of fusion music out there........2007-05-14

This ranks right up there with Jesse Cook and Sarah McLachlan on my list of modern recordings. Dorsey obviously adores the music of Beethoven. Full, rich sound with lots of good base notes and just the right touch at all time.

5 out of 5 stars Dorsey Rocks It Out in Beethoven Style.......2006-06-08

This is one of the very first CDs I bought, way back in 1988 when it was released, and, as it turns out 18 years later, it's still one of my favorites. Why would a near-20-year-old classical recording -- of synthesized origin, no less -- continue to be a favorite?

Perhaps it's a bit of nostalgia. Perhaps it's my love of neo-classical that made me gush over this album nearly 20 years ago when it was fresh, and yet even today. Perhaps it's the fact that I can take this disc into my vehicle, crank the volume and get blown away by the bass in tracks 1 - "Rage Over a Lost Penny", 4, 11 - "Für Elise", and 12. Track 1 literally blew the sound coil off the cone of my subwoofer on one particularly enthusiastic playback. Perhaps it's the fact that this thing is pure digital (when DDD meant something) and sounded amazing when it came out -- and still does; it's a great reference disc for putting speakers through their paces. Perhaps it's because Beethoven was a musical genius and the appeal of his work transcends time and instrumentation. Perhaps it's because Dorsey is an artist and has masterfully translated these beautiful ancient works into something reverently (and occasionally reverently comically) modern. Perhaps it's a combination of all the above.

Dorsey succeeded in making classical music FUN with this recording! "Beethoven or Bust" complemented his previous effort, "Bachbusters" perfectly, even though the two composers' styles were so different. Oh, and it is apparently pretty solid stuff technically and stylistically -- "Beethoven or Bust" was #1 on the Classical charts for nearly half a year in '88 and the #2 album of the year, so the naysayers have some explaining to do. This is not just another "Switched-on Bach". A previous reviewer said that Dorsey has a heck of a sense of humor - you just have to read the liner notes to see that this is true!

Bottom line is you'll enjoy -- even love! -- this disc unless you're a die-hard classical fan that can't quite accept the shift of classical music into the electronic world. The irony of this situation is that most of the great ancient composers were on the cutting edge of music technology of their time and would undoubtedly have used synthesizers if they had them at the time. Buy this album. Denny Krane.

5 out of 5 stars Good Clean Fun.......2005-12-16

First off, one needs to understand that Don Dorsey has a great sense of humor in order to fully appreciate his recordings. Years ago, he made a splash with his Telarc release titled "Bachbusters" which presented Bach keyboard pieces on the Synclavier with explosive sonics. This disc is a followup to Bachbusters and although it didn't sell as well or receive as much praise as its predecessor, I actually like it more. I find this disc to have more artistry and musicality and still provide plenty of sonic punch. If you doubt that claim, then que up track 11 (Fur Elise), crank the volume knob to 11 and get ready to see the coil from your subwhoofer get launched across your listening room floor. For more good clean fun, try track number 1, then perhaps skip up to the Moonlight Sonata (tracks 5 through 7). This is great stuff, but to enjoy it to the ultimate, your sense of humor will need to approach that of Mr. Dorsey's.

1 out of 5 stars Too Electric.......2002-03-11

While we like rock and "electric" renditions of classical, couldn't give this CD away. A bit tooo electric.

5 out of 5 stars No Bust.......1999-10-15

This is another highly entertaining CD from Mr Dorsey. While not as good as Bachbusters, is still delightful, particularly the Moonlight Sonata and the Bagatelles. Even though this recorded early in the CD age, the sound is full and rich.
Handel: Messiah / Andrew Davis [Highlights]
Average customer rating: 3.5 out of 5 stars
  • Absolutely Glorious!
  • Excellent music (if you can hear it)
  • Handel's Messiah highlights
 Handel: Messiah / Andrew Davis [Highlights]
George Frideric Handel , Andrew Davis , Samuel Ramey , John Aler , Toronto Mendelssohn Choir , Florence Quivar , and Kathleen Battle
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004VW0A
Release Date: 2000-08-01

Tracks:

  1. Messiah: No.1 Sinfonia
  2. Messiah: No.2 Comfort Ye My People (Tenor)
  3. Messiah: No.3 Ev'ry Valley Shall Be Exalted (Tenor)
  4. Messiah: No.4 And The Glory Of The Lord (Chorus)
  5. Messiah: No.8 O Thou That Tellest (Mezzo-Soprano & Chorus)
  6. Messiah: No.11 For Unto Us A Child Is Born (Chorus)
  7. Messiah: No.12 Pifa (Pastoral Symphony)
  8. Messiah: No.16 Rejoice Greatly, O Daughter Of Zion (Soprano)
  9. Messiah: No.17 He Shall Feed His Flock (Soprano - Mezzo-Soprano)
  10. Messiah: No.19 Behold The Lamb (Chorus)
  11. Messiah: No.20 He Was Despised (Mezzo-Soprano)
  12. Messiah: No.23 All We Like Sheep (Chorus)
  13. Messiah: No.36 Why Do The Nations? (Bass)
  14. Messiah: No.37 Let Us Break Their Bonds Asunder (Chorus)
  15. Messiah: No.39 Hallelujah (Chorus)
  16. Messiah: No.40 I Know That My Redeemer Liveth (Soprano)
  17. Messiah: No.47 Worthy Is The Lamb
  18. Messiah: Amen (Chorus)

Customer Reviews:

5 out of 5 stars Absolutely Glorious!.......2003-01-31

I have listened extensively to more than 15 recordings of Handel's Messiah, and have performed it several times as a tenor soloist, and I must say that this rendition has the combination of technical mastery, musical drama, and historical accuracy that renders it overall the best recording I have heard to date. Davis's solid, but not overly large orchestral forces balance the forte of the choral passages wonderfully, and he also makes use of the organ, which conductors all too frequently overlook - it absolutely makes all the difference, especially in numbers like the Hallelujah Chorus, which is done to perfection and which sold me on this recording in the first place. The soloists are fantastic; I wish the tenor (John Aler) had better command of dynamics and spent less time singing under pitch (I, being a tenor myself, notice these things far too much), but the overall effect of his voice is warm, burnished, and very well modulated. Battle, Quivar, and Ramey deliver superstar performances from superstar singers, and the Toronto Mendelssohn Chorus, while a little quiet for its size, nonetheless delivers the chorales with a precise strength that's refreshing, especially if you've grown up listening to the Mormon Tabernacle Choir wade around neck-deep in the choruses. Worth every penny you spend.

1 out of 5 stars Excellent music (if you can hear it).......2000-12-20

The CD has some extremely good renditions of The Messiah. I have to admit that the performance was indeed some of the best I have heard. Unfortunately it was recorded poorly. So poorly that my CD player had to be turned up to full to hear it and then I had the static to contend with. As good as an album as it is, it was lost due to to bad recording techniques. Take my advice and spend a few extra bucks on another Handel CD.

5 out of 5 stars Handel's Messiah highlights.......2000-08-24

Kathleen Battle does not dissapoint on this one. Her crystal clear and purely gracefull voice does handel great justice. Brovo !!!
Handel - Messiah / Vyvyan · Sinclair · Vickers · Tozzi · Royal PO · Beecham
Average customer rating: 4 out of 5 stars
  • Beecham's noisy Messiah
  • The Big Victorian Handel 'Messiah': Indulge Yourself!
  • Comfort Ye!
  • Familiarity hasn't bred much affection
  • Thanks to Jon!
 Handel - Messiah / Vyvyan · Sinclair · Vickers · Tozzi · Royal PO · Beecham
George Frideric Handel , Sir Thomas Beecham , Jennifer Vyvyan , Monica Sinclair , Royal Philharmonic Orchestra , Jon Vickers , and Giorgio Tozzi
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Handel - Messiah / Harper, Watts, Wakefield, Shirley-Quirk, LSO, C. Davis
  2. Handel: Messiah
  3. Purcell: Dido and Aeneas / James, Lewis, Baker, Herincx
  4. Messiah (Complete)
  5. Handel - Joshua / Kirkby, Bowman, Oliver, Ainsley, George, The King's Consort

ASIN: B000003FB8
Release Date: 1992-07-14

Tracks:

  1. Messiah: Overture - Royal Philharmonic Orchestra
  2. Messiah: Recit: Comfort Ye, My People (Tenor) - Jon Vickers
  3. Messiah: Air: Every Valley Shall Be Exalted (Tenor) - Jon Vickers
  4. Messiah: Chorus: And The Glory Of The Lord - John McCarthy
  5. Messiah: Recit: Thus Saith The Lord Of Hosts (Bass) - Giorgio Tozzi
  6. Messiah: Air: But Who May Abide (Bass) - Giorgio Tozzi
  7. Messiah: Chorus: And He Shall Purify - John McCarthy
  8. Messiah: Recit: Behold, A Virgin Shall Conceive (Contralto) - Monica Sinclair
  9. Messiah: Air & Chorus: O Thou That Tellest Good Tidings (Contralto) - John McCarthy
  10. Messiah: Recit: For, Behold, Darkness Shall Cover (Bass) - Giorgio Tozzi
  11. Messiah: Air: The People That Walked In Darkness (Bass) - Giorgio Tozzi
  12. Messiah: Chorus: For Unto Us A Child Is Born - John McCarthy
  13. Messiah: Pastoral Symphony - Royal Philharmonic Chorus
  14. Messiah: Recit: There Were Shepherds Abiding (Soprano) - Jennifer Vyvyan
  15. Messiah: Recit: And The Angel Said Unto Them (Soprano) - Jennifer Vyvyan
  16. Messiah: Recit: And Suddenly There Was (Soprano) - Jennifer Vyvyan
  17. Messiah: Chorus: Glory To God In The Highest - John McCarthy
  18. Messiah: Air: Rejoice Greatly, O Daughter (Soprano) - Jennifer Vyvyan
  19. Messiah: Recit: Then Shall The Eyes (Contralto) - Monica Sinclair
  20. Messiah: Air: He Shall Feed His Flock; Come Unto Him (Contralto & Soprano) - Monica Sinclair
  21. Messiah: Chorus: His Yoke Is Easy - John McCarthy

Tracks:

  1. Messiah: Chorus: Behold The Lamb Of God - John McCarthy
  2. Messiah: Air: He Was Despised (Contralto) - Monica Sinclair
  3. Messiah: Chorus: Surely He Hath Borne Our Griefs - John McCarthy
  4. Messiah: Chorus: And With His Stripes We Are Healed - John McCarthy
  5. Messiah: Chorus: All We Like Sheep Have Gone Astray - John McCarthy
  6. Messiah: Recit: All They That See Him (Tenor) - Jon Vickers
  7. Messiah: Chorus: He Trusted In God - John McCarthy
  8. Messiah: Recit: Thy Rebuke Hath Broken His Heart (Tenor) - Jon Vickers
  9. Messiah: Air: Behold, And See If There Be (Tenor) - Jon Vickers
  10. Messiah: Recit: He Was Cut Off Out Of The Land (Tenor) - Jon Vickers
  11. Messiah: Air: But Thou Didst Not Leave (Tenor) - Jon Vickers
  12. Messiah: Chorus: Lift Up Your Heads - John McCarthy
  13. Messiah: Air: How Beautiful Are The Feet (Soprano) - Jennifer Vyvyan
  14. Messiah: Chorus: Their Sound Is Gone Out Into All Lands - John McCarthy
  15. Messiah: Air: Why Do The Nations So Furious Rage (Bass) - Giorgio Tozzi
  16. Messiah: Chorus: Lets Us Break Their Bonds Asunder - John McCarthy
  17. Messiah: Recit: He That Dwelleth In Heaven (Tenor) - Jon Vickers
  18. Messiah: Air: Thou Shalt Break Them (Tenor) - Jon Vickers
  19. Messiah: Chorus: Hallelujah! - John McCarthy
  20. Messiah: Part III - Air: I Know That My Redeemer Liveth (Soprano) - Jennifer Vyvyan
  21. Messiah: Chorus: Since By Man Came Death - John McCarthy
  22. Messiah: Recit: Behold, I Tell You A Mystery (Bass) - Giorgio Tozzi
  23. Messiah: Air: The Trumpet Shall Sound (Bass) - Giorgio Tozzi
  24. Messiah: Chorus: Worthy Is The Lamb - John McCarthy

Tracks:

  1. Messiah: Recit: Unto Which Of The Angels (Tenor) - Jon Vickers
  2. Messiah: Chorus: Let All The Angels Of God Worship Him - John McCarthy
  3. Messiah: Air: Thou Art Gone Up On High (Bass) - Giorgio Tozzi
  4. Messiah: Chorus: The Lord Gave The Word - John McCarthy
  5. Messiah: Recit: Then Shall Be Brought To Pass (Contralto) - Monica Sinclair
  6. Messiah: Duet: O Death, Where Is Thy Sting? (Contralto & Tenor) - Monica Sinclair
  7. Messiah: Chorus: But Thanks Be To God - John McCarthy
  8. Messiah: Air: If God Be For Us (Soprano) - Jennifer Vyvyan

Amazon.com essential recording

Sir Thomas Beecham's Messiah has become notorious among baroque purists (like this writer) for embodying the worst excesses of pre-1960 Handel performance: ponderous tempos, stentorian opera singers, huge lumbering choruses and orchestras, crashing cymbals, clanging triangles.... Well, we'll need a new straw man: this performance is WONDERFUL. Jon Vickers and Giorgio Tozzi negotiate Handel's writing surprisingly well; Jennifer Vyvyan takes to it naturally. The chorus and orchestra (yes, including trombones, tuba, triangle, and cymbals) may obscure the part-writing, but they fill the music with power, grandeur, and faith. If Mozart could re-orchestrate Messiah, why not Beecham? This may not be Handel's Messiah as such, it may even be a period piece itself--but it's magnificent. --Matthew Westphal

Customer Reviews:

3 out of 5 stars Beecham's noisy Messiah.......2006-12-23

Here's the famous Messiah from Thomas Beecham and forces that uses crashing cymbals, enhanced timpani and brass to make it sound like a collusion between classical forces, a rock band and Canadian Brass. Listen to second CD excerpt from "Hallelujah!" for the opening cymbal crash to get an idea of what's going on.

This performance has been debated for 40 years as to whether it is musically adept, musically correct, an exemplar of the English choral tradition, or just a big old batch of fun at Handel's expense. I first owned this during a time when I also owned a recording Handel's "Royal Fireworks Music" featuring 40 woodwinds. The two made roughly an equal amount of noise.

There isn't much question this performance is completely out of step with the way Handel is performed in most venues today. Check out the wonderful Jon Vickers' highly operatic opening aria, "Comfort ye", then compare that to any leaned-out period group you've heard. You'll get another idea of the dimension of Beecham's project.

While not on the agenda of the Flat Earth Society, the only real interest in a performance like this -- especially having to endure it on three CDs when just about everyone else puts it on two -- is nostalgia or history, whichever happens to be the case for you.

My personal favorite version is in the 4-CD box of "Messiah" and "Israel In Egypt" where Andrew Parrott leads his Taverner Choir & Players and some of the best early music singers including Emma Kirkby, Emily van Evera, Margaret Cable, David Thomas, and Joseph Cornwall. HIs Messiah isn't perfect -- it uses a countertenor for a bass in one aria -- but it is more moderate than most PPP recordings and has a wonderful romantic edge to most of the score. It comes with a top notch recording of "Israel in Egypt" and still costs less than the Beehcham.

5 out of 5 stars The Big Victorian Handel 'Messiah': Indulge Yourself!.......2006-12-16

We live in an era when purity of intent and respect for composers' works is at an all time high. Not only are we blessed with superb 'authentic' performances on period instruments and with small choruses and countertenors and state of the art bel canto singers for Handel's evergreen "Messiah", there are many superlative recordings that are as polished as any one work on current recordings. Supposedly we are hearing Messiah the way Handel envisioned it. Perhaps so, but who is to say that had Handel the resources available today he wouldn't have jumped for joy at the drama of the old British Choral Societies version that Sir Thomas Beecham conducts on this anything but dusty recording from many years ago. The 'Old School' had its good points.

Beecham goes all out with an orchestration, while attributed to Sir Eugene Goosens is also probably some of Beecham's own inimitable tinkering, that adds instruments not only in numbers but also in color and depth of sound. Winds double strings, percussion includes the full battery instead of just tympani, the big cello and viola sound stand equally with the big violin sound, etc. The chorus is huge, and while this allows the big dramatic moments to be intense, the fine diction Beecham demanded remains solidly intact.

The soloists are in an operatic class of their own. Jennifer Vyvyan and Monica Sinclair were major singers when this recording was made and their singing is big and well ornamented. Jon Vickers and Giorgio Tozzi bring Verdi into the room and he is a welcome visitor to Beecham's vision of this work.

For this listener, who prefers the 'correct, authentic' performance, this recording and others even older that celebrate the BIG Messiah are a delight. And that just proves that performance standards, no matter the interpretation of the conductor, are paramount: Beecham gives a solid, convincing interpretation to the operatic Messiah. It is lush, and huge, and absolutely wonderful to hear again! Grady Harp, December 06

5 out of 5 stars Comfort Ye!.......2006-10-30

If your not familiar with "Messiah" don't let the reviews scare you - this is certainly a great choice for your first or only recording. There is a lot of feeling in the playing and singing, and i feel it is quite respectful not only of the composer, but the subject matter. It includes a booklet with all the lyrics, and an essay by Beecham himself about the piece. It is a complete recording, with a "bonus cd" of extra verses not usually performed (as explained in the essay). The audio quality is great for the time it was recorded. Its much more worthy to be listened to and contemplated than to be put on as backround music at Christmastime. The price is certainly reasonable in light of the quality of the performance.

3 out of 5 stars Familiarity hasn't bred much affection.......2005-11-02

I first became acquainted with this recording at the tender age of 12 when I received the original Soria edition as a Christmas gift. I remember being intensely disappointed at what seemed to me then as more circus than music. Time has mellowed that negative reaction and gives a more balanced assessment of Beecham's achievement - I bought the CD reissue after all. It still doesn't inspire much affection in yours truly although I can appreciate the soloists' contributions, particularly Tozzi. The lamented Vyvyan was in better voice with Boult. Here she has a rapid vibrato and a curious way of articulating the high notes. The orchestrations seem to maintain more of the clarity of the writing by concentrating on the bass and the top without clogging up the middle voices in the manner of the Victorians. There are three pieces where it just doesn't work at all to these ears: the brassy "All we like sheep," "Hallelujah" (which summons visions of Fucik's 'Entry of the Gladiators' every time I hear it), and the disintegration of the obbligato trumpet into flute noodlings in "The trumpet shall sound," in a lightweight performance that is at odds with the grandeur of the text. I'll also admit that the splashy brilliance of "For unto us a Child is born" and the surging drama of "Surely, He hath borne our griefs" are very satisfying.

In the forty some recordings I own (and the many performances I've attended) there's no best and no definitive. This is one I respect but don't care to hear very often.

3 out of 5 stars Thanks to Jon!.......2005-03-08

This recording is worth having first of all beacause of the credible singing of Jon Vickers! Yes, he really sings on the words. The "Comfort Ye" and "Every valley..." have a knew dimension after Jons reading of the score. Of course I know that in tradition we want a very much more lyrical voice to this masterpiece. But he's not alone here, and now we are already into the problem; the choir! It's just terrible, yes terrible!
I'm just ending up with "Thanks to Jon!"




Sacred Music Complete
Average customer rating: 5 out of 5 stars
  • great, great!!!
  • ALL THE MUSIC YOU EVER NEED!!
 Sacred Music Complete
Purcell , King , and Kings Consort
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Similar Items:
  1. The Complete Odes and Welcome Songs of Henry Purcell / King's Consort
  2. Complete Secular Songs (3cd)

ASIN: B00006RHQJ
Release Date: 2002-12-10

Customer Reviews:

5 out of 5 stars great, great!!!.......2006-12-05

This is the way ,I think, Purcell should sound. No pomp and surcomstance but only great music.

5 out of 5 stars ALL THE MUSIC YOU EVER NEED!!.......2003-05-23

This boxed set is by far one of the best purchases I have ever made. As a Purcell freak, this hits every button I have. The cast of characters include the inequitable Robert King, New College Choir, Bowman, and a host of other venerable persons. Likewise the attention to period performance of these works makes it an essential addition to the library of any serious anglophile/Musicologist etc. Now if only the Britten Realizations of all Purcell's songs could be recorded alongside the originals! You will Love this set!
Handel: The Masterworks (Box Set)
Average customer rating: Not rated
    		Handel: The Masterworks (Box Set)

    Manufacturer: Brilliant Classics
    ProductGroup: Music
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    ASIN: B00062FLI8
    Release Date: 2004-11-30
    All the World's a Rage
    Average customer rating: 5 out of 5 stars
    • Superb modern punk rock
    		 All the World's a Rage
    English Dogs
    Manufacturer: Pavement Records
    ProductGroup: Music
    Binding: Audio CD

    PunkPunk | Hardcore & Punk | Alternative Rock | Styles | Music
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    Similar Items:
    1. To the Ends of the Earth / Forward Into Battle
    2. Where Legend Began

    ASIN: B000009PZQ
    Release Date: 1998-08-25

    Tracks:

    1. Shoot Your Own Head Off
    2. I've Got A Gun (Body Guard)
    3. Last One Standing
    4. This Is Not A War
    5. Delete It
    6. Out In The Cold
    7. Wrecking Spree
    8. Die Waiting
    9. Under A Privare Attack
    10. Fortress Europe
    11. A Cog In Their Machine
    12. Poor Air Quality
    13. Be What You Are
    14. Grass
    15. Reduction Line
    16. Body On The Line
    17. Disarm

    Album Details

    Second Album to Come from after their Reformation. Features Gizz Butt of Prodigy Fame.

    Customer Reviews:

    5 out of 5 stars Superb modern punk rock.......1998-09-17

    I seriously like this album. Anyone who wants a punk album without the cheesie seventies feel will like it too.

    The tracks are funny, sometimes aggressive, and sometimes based on some serious dislike of UK Government policies.

    The bass guitar and drum are perfectly punk rock, while the lead guitarist shows the world what the guitar was designed for.
    Complete Beethoven Edition Vol. 6 - Piano Works / Demus, Alder, Gilels, Mustonen, Kempff, Barenboim
    Average customer rating: 5 out of 5 stars
    • A good deal to enjoy
    • Jazzy Ludwig!
    		 Complete Beethoven Edition Vol. 6 - Piano Works / Demus, Alder, Gilels, Mustonen, Kempff, Barenboim
    Ludwig van Beethoven , Jörg Demus , Emil Gilels , Olli Mustonen , Christopher Alder , Daniel Barenboim , and Wilhelm Kempff
    Manufacturer: Deutsche Grammophon
    ProductGroup: Music
    Binding: Audio CD

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    Similar Items:
    1. Complete Beethoven Edition, Vol. 14: Misc. Chamber Works
    2. Complete Beethoven Edition, Vol. 7: Violin Sonatas
    3. Complete Beethoven Edition, Vol. 2: Concertos
    4. Complete Beethoven Edition, Vol. 9: Piano Trios
    5. Complete Beethoven Edition, Vol. 11: Early String Quartets

    ASIN: B000001GZ9
    Release Date: 1997-11-25

    Tracks:

    1. 7 Bagatelles, Op.33: No. 1 In E Flat Major - Andante grazioso quasi Allegretto
    2. 7 Bagatelles, Op.33: No.2 In C Major - Scherzo. Allegro
    3. 7 Bagatelles, Op.33: No.3 In F Major - Allegretto
    4. 7 Bagatelles, Op.33: No.4 In D Major - Andante
    5. 7 Bagatelles, Op.33: No.5 In C Major - Allegro ma non troppo
    6. 7 Bagatelles, Op.33: No.6 In D Major - Allegretto quasi andante
    7. 7 Bagatelles, Op.33: No.7 In A Flat Major - Presto
    8. 11 Bagatelles, Op.119: No.1 In B Flat Major - Allegretto
    9. 11 Bagatelles, Op.119: No.2 In C Major - Andante con moto
    10. 11 Bagatelles, Op.119: No.3 In D - a l'Allemande
    11. 11 Bagatelles, Op.119: No.4 In A Major - Andante cantabile
    12. 11 Bagatelles, Op.119: No.5 In C Minor - Risoluto
    13. 11 Bagatelles, Op.119: No.6 In G Major - Andante - Allegretto
    14. 11 Bagatelles, Op.119: No.7 In C Major - Allegro ma non troppo
    15. 11 Bagatelles, Op.119: No.8 In C - Moderato
    16. 11 Bagatelles, Op.119: No.9 In A Minor - Vivace moderato
    17. 11 Bagatelles, Op.119: No.10 In A Major - Allegramente
    18. 11 Bagatelles, Op.119: No.11 In B Flat Major - Andante ma non troppo
    19. Bagatelle in C Minor: Presto
    20. Bagatelle In C Major: Allegretto
    21. 6 Bagatelles, Op.126: No.1 In G Major - Andante con moto cantabile e compiacevole
    22. 6 Bagatelles, Op.126: No. 2 In G Minor - Allegro
    23. 6 Bagatelles, Op.126: No.3 In In E Flat Major - Andante cantabile e grazioso
    24. 6 Bagatelles, Op.126: No.4 In D Major - Presto
    25. 6 Bagatelles, Op.126: No.5 In G Major - Quasi Allegretto
    26. 6 Bagatelles, Op.126: No.6 In E Flat Major - Presto - Andante amabile e con moto - Tempo I
    27. Bagatelle 'Fur Elise' In A Minor: Poco moto

    Tracks:

    1. 3 Sonatas For Piano ('Electoral' Sonatas): No. 1 In E Flat Major: 1. Allegro cantibile
    2. 3 Sonatas For Piano ('Electoral' Sonatas): No. 1 In E Flat Major: 2. Andante
    3. 3 Sonatas For Piano ('Electoral' Sonatas): No. 1 In E Flat Major: 3. Rondo vivace
    4. 3 Sonatas For Piano ('Electoral' Sonatas): No. 2 In F Minor: 1. Larghetto maestoso - Allegro assai
    5. 3 Sonatas For Piano ('Electoral' Sonatas): No. 2 In F Minor: 2. Andante
    6. 3 Sonatas For Piano ('Electoral' Sonatas): No. 2 In F Minor: 3. Presto
    7. 3 Sonatas For Piano ('Electoral' Sonatas): No. 3 In D Major: 1. Allegro
    8. 3 Sonatas For Piano ('Electoral' Sonatas): No. 3 In D Major: 2. Menuetto. Sostenuto - Var. I-VI
    9. 3 Sonatas For Piano ('Electoral' Sonatas): No. 3 In D Major: 3. Scherzando. Allegro, ma non troppo
    10. 2 Sonata Movments In F Major: 1. Without Tempo Indication
    11. 2 Sonata Movments In F Major: 2. Allegretto
    12. Piano Sonata In C Major: Allegro
    13. Piano Sonata In C Major: Adagio
    14. Allegretto In C Minor
    15. 'Lustig - Traurig' In C Major
    16. Prelude In F Minor
    17. Piano Piece In B Flat Major
    18. Allegretto In B Minor
    19. Allegretto quasi andante In G Minor
    20. Allemande In A Major
    21. Minuet In E Flat Major
    22. Waltz In E Flat Major
    23. Waltz In D Major
    24. Ecossaise In E Flat Major
    25. Fugue In C Major
    26. Allegretto In C Minor

    Tracks:

    1. Rondo In C Major, Op. 51: Moderato e grazioso - Ludwig Van Beethoven
    2. Rondo In G Major, Op. 51 No. 2: Andante cantabile e grazioso - Ludwig Van Beethoven
    3. Rondo In C Major: Allegretto - Ludwig Van Beethoven
    4. Rondo In A Major: Allegretto - Ludwig Van Beethoven
    5. Polonaise In C Major: Alla polacca, vivace - Ludwig Van Beethoven
    6. 9 Variations (In C Minor) On A March By Ernst Christoph Dressler: Thema. Maestoso - Ludwig Van Beethoven
    7. 6 Variations On A Swiss Song In F Major: Thema. Andante con moto - Ludwig Van Beethoven
    8. Thema. Allegretto - Var. I-XIII - Var. XIV. Allegretto - Adagio - Var. XV-XIX - Var. XX. Scherznado - Var. XXI-XXII - Var. XXIII. Adagio sostenuto - Var. XXIV. Allegro - Allegro stringendo - Presto assai - Ludwig Van Beethoven
    9. 12 Variations (In C Major) On The 'Menuett a la Vigano' From Jakob Haibel's Ballet 'Le nozze disturbate': Thema. Allegretto - Var. I-IX - Var. XII. Allegro - Adagio - Ludwig Van Beethoven
    10. 6 Variations (In G Major) On The Duet 'Nel cor piu non mi sento' From Giovanni Paisello's Opera 'La molinara': Thema. (Andantino) - Ludwig Van Beethoven

    Tracks:

    1. Fantasia In G Minor: Allegro - Poco adagio - allegro ma non troppo - Allegro con brio - Adagio - Presto - Adagio - Allegretto - Adagio
    2. 6 Variations (In D Major) On An Original Theme: Thema. Allegro risoluto - Var. I-V - Var. VI. Presto - Tempo I
    3. Thema. Allegretto - Var. I-II - VarIII. Commodetto - Var. IV - Var. V. Risoluto - Arioso. Andante con moto - Var. VI. Espressivo - Var. VII. Allegro no nmolto - Var. VIII. Tempo I - Var. IX. Allegro
    4. 8 Variations (In C Major) On The Romance 'Une fievre brulante' From Gretry's Opera 'Richard Coeur de Lion': Thema. Allegretto - Var. I-VII - Var. VIII. Allegro - Presto
    5. 10 Variations (In B Flat Major) On The Duet 'La stessa, la stessissima' From Antonio Salieri's Opera 'Falstaff': Thema. Andante con moto - Var. I-IX - Var. X. Allegretto (alla Austriaca) - Tempo I
    6. 7 Variations (In F Major) On The Quartet 'Kind, willst du ruhig schlafen?' From Peter Winter's Opera 'Das unterbrochene Opferfest': Thema. Allegretto - Var. I-VI - Var. VII. Allegro - Allegro molto
    7. 8 Variations (In F Major) On The Trio 'Tandeln und Scherzen' From Franz X. Sussmayrs Opera 'Soliman II': Thema. Andante, quasi Allegretto - Var. I-VI - Var. VII. Adagio molto ed espressivo - Var. VIII. Allegro vivace - Adagio
    8. 6 Easy Variations (In G Major) On An Original Theme: Thema. Andante, quasi Allegretto - Var. I-VI

    Tracks:

    1. 6 Variations (In F Major) On An Original Theme: Thema. Adagio. Cantabile
    2. 6 Variations (In F Major) On An Original Theme: Var. I
    3. 6 Variations (In F Major) On An Original Theme: Var. II - Allegro ma non troppo
    4. 6 Variations (In F Major) On An Original Theme: Var. III - Allegretto
    5. 6 Variations (In F Major) On An Original Theme: Var. IV - Tempo di Menuetto
    6. 6 Variations (In F Major) On An Original Theme: Var. V - Marcia. Allegretto
    7. 6 Variations (In F Major) On An Original Theme: Var. VI - Allegretto. Adagio molto
    8. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Introduzione col Basso del Tema. Allegretto vivace
    9. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Tema
    10. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. I
    11. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. II
    12. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. III
    13. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. IV
    14. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. V
    15. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. VI
    16. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. VII - Canone all'ottava
    17. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. VIII
    18. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. IX
    19. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. X
    20. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XI
    21. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XII
    22. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XIII
    23. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XIV
    24. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XV - Largo
    25. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Coda
    26. 15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Finale. Alla Fuga. Allegro con brio - Andante con moto
    27. 9 Variations (IN A Major) On The Aria 'Quant'e piu bello' From Giovanni Paisiello's Opera 'La molinara': Allegretto
    28. 12 Variations (In A Major) On A Russian Dance From Paul Wranitzky's Ballet 'Das Waldmadchen': Allegretto
    29. 7 Variations (In C Major) On 'God Save The King': Thema - Var. I-V - Var. VI. Allegro. Alla Marcia - Var. VII. (Allegro) - Adagio - Allegro
    30. 5 Variations (In D Major) On 'Rule, Britannia' From Thomas Arne's Masque 'Alfred': Thema. Tempo moderato
    31. 32 Variations (In C Minor) On An Original Theme: Thema. Allegretto
    32. 6 Ecossaises In E Flat Major

    Tracks:

    1. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Thema.Vivace
    2. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. I - Alla Marcia maestoso
    3. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. II - Poco Allegro
    4. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. III. - L'istesso tempo
    5. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. IV. - Un poco piu vivace
    6. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. V. - Allegro vivace
    7. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var.VI-Allegro ma non troppo
    8. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. VII - Un poco piu allegro
    9. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. VIII - Poco vivace
    10. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. IX - Allegro pesante e risoluto
    11. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. X - Presto
    12. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XI - Allegretto
    13. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XII - Un poco piu moto
    14. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XIII - Vivace
    15. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XIV - Grave e maestoso
    16. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XV - Presto scherzando
    17. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XVI - Allegro
    18. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XVII
    19. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XVIII - Poco moderato
    20. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XIX - Presto
    21. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XX - Andante
    22. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXI - Allengro con brio
    23. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXII - Allegro molto
    24. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXIII - Allegro assai
    25. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXIV - Fughetta. Andante
    26. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXV - Allegro
    27. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXVI
    28. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXVII - Vivace
    29. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXVIII - Allegro
    30. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXIX - Adagio ma non troppo
    31. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXX - Andante, sempre cantabile
    32. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXXI - Largo, molto espressivo
    33. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXXII - Fuga.Allegro - Poco adagio
    34. 33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXXIII - Tempo di Menuetto moderato

    Tracks:

    1. Andante In F Major - 'Andante favori: Andante grazioso con moto
    2. 6 Minuets: 6 Minuets - No. 1 In C Major; No. 2 In G Major; No. 3 In E Flat Major; No. 4 In B Flat Major; No. 5 in D Major; No. 6 In C Major
    3. 7 Landler In D Major
    4. 12 German Dances: No. 1 In D Major; No. 2 In B Flat Major; No. 3 In G Major; No. 4 In D Major; No. 5 in F Major; No. 6 In B Flat Major; No. 7 In D Major; No. 8 In G Major; No. 9 In E Flat Major; No. 10 In C Major; No. 11 In A Major; No. 12 In D Major
    5. 'The Rage Over The Lost Penny' In G Major: Allegro vivace
    6. Canon A 2 In G Major, Hess 274
    7. Canon A 2 In A Flat Major, Hess 275
    8. 8 Variations (In C Major) On A Theme By Count Waldstein: Thema. Andante con moto - Var. I-VII. Un poco Adagio - Capriccio - Allegro - Adagio - Allegro - Adagio - Allegretto - Allegro - Presto
    9. 6 Variations (In D Major) On The Lied 'Ich denke dein': Lied. Andantino cantabile

    Tracks:

    1. Sonata In D Major, Op. 6: 1. Allegro molto
    2. Sonata In D Major, Op. 6: 2. Rondo. Moderato
    3. 3 Marches, op.45: No.1 In C Major - Allegro ma non troppo
    4. 3 Marches, op.45: No. 2 in E Flat Major - Vivace
    5. 3 Marches, op.45: No. 3 In C Major - Vivace
    6. 'Grosse Fuge' In B Flat Major, Op. 134: Overtura. Allegro - Meno mosso e moderato - Allegro - Fuga. (Allegro) - Meno mosso e moderato - Allegro (molto e con brio)
    7. 2 Preludes Through All Twelve Major Keys For Piano Or Organ: No. 1
    8. 2 Preludes Through All Twelve Major Keys For Piano Or Organ: No. 2
    9. Fugue In D Major For Organ
    10. 5 Pieces For Mechanical Clock: No. 1 In F Major - Adagio assai
    11. 5 Pieces For Mechanical Clock: No. 2 In G Major - Scherzo. Allegro
    12. 5 Pieces For Mechanical Clock: No. 3 In G Major - Allegro
    13. 5 Pieces For Mechanical Clock: No. 4 In C Major - Allegro non piu molto
    14. 5 Pieces For Mechanical Clock: No. 5 In C Major - Menuett. Allegretto
    15. Grenadier March For Mechanical Clock In F Major, Hess 107

    Customer Reviews:

    5 out of 5 stars A good deal to enjoy.......2006-04-15

    Though Beethoven could play the violin he was not a virtuoso on the instrument. The piano, on the other hand, was changed as an instrument by him. He was always on a quest for more sonorous and richer sounds and piano makers did their best to oblige. Many of Beethoven's avant guarde ideas about composition and the role of music in self expression started as piano sonatas and piano works. With this in mind, Beethovens compositions for the piano are some of the most outstanding, brilliant, and technically pure works to emerge from any composer. It is impossible not to feel the emotions Beethoven wishes to convey from piece to piece.

    The piano sonatas are really self contained dramas. In them, you will hear the expressions of sadness, beauty, rage, and unbounded joy. It is impossible to listen to this collection and not find pleasure in it. The recordings as well as the performers are top-notch. Highly recommended.

    5 out of 5 stars Jazzy Ludwig!.......2005-02-17

    An excellent set featuring Ludwig van's sets of variations wherein he gets jazzy and swings on catchy tunes! Highly recommended.

    NOTE: For those of you who don't understand metaphor: what I'm saying here is that Beethoven used popular operatic hit-tunes of his day and improvised variations on those tunes--as is done in America's original art-form--Jazz. Get it?

    Rock Music:

    1. A Space in Time [Import] [Original recording remastered]
    2. Beck-Ola [Import]
    3. Before I Hit the Wall [CD-single] [Import]
    4. Best Seats in the House [Import]
    5. Breach of Trust [Import]
    6. Breakin Rocks
    7. Cara Dillon
    8. Collector's King Crimson, Vol. 8 [Box set] [Live] [Import]
    9. Computer Recital
    10. Dirty

    Rock Music

    rock music