C.C. Nova

c.c. nova

Track Listings

1. Bus Stations of the Cross

2. Relax and Sleep

3. Purgatory, Isoltion and Pin Ball

4. Purgatory, Isoltion and Pin Ball

5. Purgatory, Isoltion and Pin Ball

6. Tuesday, September 3, 1964

7. Uptight Chevelle

8. 40,000 Volts of Solitude

9. Bacon Train

10. Marehto Hoctors

11. Witchdock or Highball

12. Shavel Full of Pigsons

13. Whirlpool Bursting Test

14. Ignition

15. Song for Amolia Earhart

C.C. Nova,C.C. Nova,Milk Cult,Communion Records,Pop,Rock,Rock/Pop

C.C. Nova

Average customer rating:

Wonderfully fresh
Great -- All Around
Old (but Very Fine) Wine, New Skins--A Revelatory Listening Experience
Much-needed fresh interpretation of the overtures

Beethoven: Complete Overtures

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: The Nine Symphonies

ASIN: B0007X9TKC
Release Date: 2005-04-12

Album Description

"Of course this is what Beethoven is supposed to sound like. All the warmth, the breadth, the depth, the height, the solemnity, the hilarity, the agony, and, of course, the wild-eyed ecstasy that are in Beethoven in these performances of his complete Overtures by David Zinman leading the Tonhalle Orchestre Zurich. As Zinman proved in his cycle of the nine symphonies, he knows Beethoven, knows his music and his moods, knows when to hold back and when to let loose, when to dance and when to sing in blissful rapture. In his cycle of the 11 overtures, Zinman soars with Die Geschöpfe des Prometheus, rails with Egmont, roars with Coriolan, and laughs with König Stephen. Zinman is as heroic as Fidelio, as passionate as Leonore, and as countrapuntally intoxicated as Die Weihe des Hauses. The Tonhalle Orchestre, which showed itself an adept and powerful Beethoven orchestra in the symphonies, once again shows its colors, its strength, and its tenderness in the overtures. ! Arte Nova's sound is deep, lush, and real."-ALL MUSIC GUIDE

Customer Reviews:

Wonderfully fresh.......2007-06-06

David Zinman and his Tonhalle Orchestra of Zurich deliver what is, hands down, the best overture to the Ruins of Athens on disc. Zinman opens the work with great energy at a quick tempo - those of us familiar with Masur's slow and stately introduction will certainly feel as if they are hearing this familiar music for the first time. The oboe cadenza is delightfully zippy as Zinman plunges headlong into the allegro proper with such authoritative vitality that one almost feels foolish for not liking this work more, slight though it is on musical argument. Horns wail, strings dig, and winds bite in this marvelous traversal. This performance gave me several impressions. First, how nice it is to hear Beethoven (here and in his traversal of the symphonies) with smaller forces married to historically informed performance practices - hard mallets for the timpani, violins divided stereophonically, winds forwardly balanced. It has a tremendous amount of textual clarity which enhances the musical argument in no small part. Secondly, how impressive that even two hundred years after some of these pieces were composed they can still be played to the hilt with fresh energy and conviction. Even with the reduced string section, I would be curious if anyone could find other versions of these overtures with this much vigor. And finally, as always, its wonderful to hear a music director and his orchestra bring something new to familiar music, all the while maintaining the highest performance and musical standard. And the love both Zinman and the Tonhalle have for this music is immediately palpable.

The same level of energy Zinman brings to The Ruins of Athens runs throughout the entirety of this two-disc release. Prometheus certainly benefits from the scaled-down proportions of the orchestra, finding the perfect balance between classical grace and Beethoven's rougher energy. Coriolan is just as bit as convincing, free from the overly-romanticized patina that this work has amassed over the years. The Overture in C receives a particularly convincing interpretation. Listen to how Zinman maintains tension throughout the overly-repetitive music and certainly makes the most sense out of the often odd-sounding scales at near the end of the piece. It just goes to show that even less convincing works can sound convincing when played with this level of conviction. Fidelio is another winner, a performance of lively grace but imbued with appropriate power.

The Consecration of the House is a delight. Zinman shapes a cogent and appropriately Baroque sounding opening to the piece and, although the trumpets are a bit reticent in their fanfares, the textual clarity of it all is quite refreshing. The allegro certainly benefits from the antiphonal violin placement, a reading of uncanny transparency, culminating in a roaring conclusion. I still have the slightest preference for Masur's performance and no one can match Charles Munch's Boston Symphony reference interpretation in this work, but all in all it is simply a matter of taste and certainly Zinman offers steep competition. Zinman's reading of King Stephen is one of balanced, proportional energy befitting its classical nature but, when all is said and done, I still prefer Szell's all-or-nothing Cleveland traversal, which possesses unbelievable physicality. As for the three Lenore Overtures, Zinman's approaches are period appropriate, but it is slightly difficult to listen to Lenore No. 3 in this leaner state. I still prefer Gunter Wand's performance, one of almost excessive weight and physicality, but the excitement is unquestionable. Egmont again is wonderful, but seems slightly undernourished when compared to the competition. But preferences aside, Zinman's interpretations are as convincing as ever and offer tremendous musical nourishment.

Recorded sound is excellent throughout but the microphone placement seems to differ from work to work. In the performances where the orchestra is most distant, the horns can often sound recessed and slightly pinched (such as in Prometheus and Fidelio) or the timpani overly reverberant (Overture in C). Still, the playing is uniformly spectacular and these are small quips that in no way detract from the listening experience and become less noticeable after repeated outings.

This set is certainly a welcome addition to a field that, until now, had virtually no competition. That Masur's performances were uniformly splendid made the dearth of great Beethoven Overture compilations less frustrating, but this set, in modern sound with period performance techniques, is almost self-recommending. Comparing Masur to Zinman seems unfair as both offer so much and say such individual things that I could not imagine having one over the other. This is a welcome addition to the catalog, one that no Beethoven fan should be without.

Great -- All Around.......2006-01-16

Wonderful recordings. Great musicianship and superb sound. A real joy! Highly recommended.

Old (but Very Fine) Wine, New Skins--A Revelatory Listening Experience.......2005-11-22

Beethoven's great overtures need no special pleading, and yet David Zinman gets down so effectively to where this music lives that in some cases, it is like hearing a thrice-familiar work for the first time. Even the Zur Namensfeier Overture, easily the least distinguished of the pieces collected here, has both sparkle and bite in Zinman's reading. The similar but much finer King Stephen Overture is always a smile-inducing surprise among Beethoven's dramatically charged overtures, given its simple joviality. Here it smiles with a youthful freshness that you don't hear in every interpretation.

The most revelatory performance for me, though, is of the Coriolan Overture, a darkly brooding piece that usually seems a bit dour despite its obvious craftsmanship and the undying memorability of its poignant second melody. Zinman succeeds in bringing out the fiery drama in this piece, which seems more often to smolder than to burn outright. Zinman's is a truly captivating performance and will be the way I choose to hear this wonderful work from now on.

Another piece that can seem pedantic and overwrought, The Consecration of the House Overture, is in Zinman's hands perfectly proportioned. Here as elsewhere, Zinman is faster than a lot of conductors but without sacrificing any of the grandiosity of this very grand piece. The one place where I'd say he rushes things too much is in the slow introduction to Egmont: the "quasi allegro" at which he takes the opening fails to provide contrast to the true allegro that is to follow. A small misstep given the many, many felicities of this set. Overall, in fact, it should let you hear these tried-and-true masterworks with a new set of ears.

In writing of Zinman's Beethoven Symphonies series, some critics have complained that the Tonhalle Orchestra produces an anemic sound. I don't hear evidence of that on these discs. There is real heft in the lower strings at the start of the Zur Namensfeier and Egmont Overtures, and the consciously "big" pieces such as the Leonore 2 and 3 and The Consecration of the House Overtures have a proper Beethovenian robustness. Sometimes, I'd say, the horns sound overtaxed, but just as often they produce a blaze of glory for Zinman. So I can't find any great objection to the playing of this mostly very fine orchestra.

I also like the sound the engineers have captured in the lively Tonhalle. It provides depth as well as detail: there is sheen to the high strings; punch and heft to the brass, timpani, lower strings.

In fact, I like just about everything these discs have to offer, including their super bargain price.

Much-needed fresh interpretation of the overtures.......2005-06-12

Surprisingly, there are relatively few choices currently available when it comes to complete collections of the Beethoven overtures, long part of the standard repetoire of any respectable orchestra. The Masur/Leipzig collection has been around for about 30 years, but until Zinman's collection was released this year, it has been pretty slim pickings.

At first, I did not know quite what to think, because Zinman offers a much leaner, fast-paced interpretation of nearly every overture. On average, his tempi are over a minute faster than the more traditional tempi of Masur's, which means that the Tonhalle Orchestra is really on a brisk clip. The orchestra's sound is also considerably lighter than one might expect (unless you are dealing with Gardiner & his period instruments, who have not yet recorded the overtures as far as I know). Whether this a result of reduced personnel or careful mike placement, I don't know, but the result is a much less heavy sound than what normally hears.

Initially, I did not care for what I found to be unfamiliar, but the more I listened, the more Zinman's tempi made sense and the more accessible these overtures became. Also (unlike Masur's edition), the three Leonore overtures do not run consecutively which is to the overall benefit of the collection. There are occasional moments of weakness in the horns & the violins, but they are brief and do not particularly detract from the performances. The recording appears to be a little bass-heavy at times, but not oppressively so; most of the time the sound has a light freshness to it that is most pleasing to the ear.

It also doesn't hurt that Arte Nova has made these CDs dirt-cheap. A mediocre performance for this little money could be easily forgiven; it is made all the better that these performances are top-notch. Anyone who loves Beethoven overtures (and who doesn't?) would be mad to overlook this collection.

Average customer rating:

Excellent - The Historically Influenced Performance I've been seeking
A Fine Collaboration: Zinman and Bronfman
Zinman, Tonhalle Zurich, & Bronfman=Athletic, Brilliant Beethoven
Outstanding!

Beethoven: Piano Concertos 3 & 4
Beethoven , Zinman , and Zurich Tonhalle Orchestra
Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Complete Overtures

ASIN: B000AMPZNU
Release Date: 2005-09-13

Tracks:

I. Allegro Con Brio
II. Largo
III. Rondo: Allegro
I. Allegro Moderato
II. Andante Con Moto
III. Rondo: Vivace

Album Description

Born in Tashkent, Uzbekistan in 1958, Yefim Bronfman emigrated to Israel at the age of 13 and later to the U.S., where he pursued his training at the Juilliard School and the Marlboro and Curtis Institutes under Rudolf Serkin, Rudolf Firkusny and Leon Fleisher. Bronfman celebrated his international début in 1975, accompanied by the Montreal Symphony Orchestra under Zubin Mehta. He soon acquired an excellent reputation as a pianist on the stages of the world's major concert halls. Highlights of recent years include concerts with the Berlin Philharmonic, the Chicago Symphony and the Cleveland Orchestra, the Staatskapelle Dresden, the Gewandhaus Orchestra Leipzig, the Concertgebouw Orchestra Amsterdam and the Vienna Philharmonic. Yefim Bronfman also gives regular piano recitals in the leading concert halls of the United States, Europe and the Far East. As a chamber musician, he has collaborated with the Emerson, Cleveland, Guarneri and Juilliard Quartets. Other! long-term musical partners include Emanuel Ax, Yo-Yo Ma, Joshua Bell, Lynn Harrell, Shlomo Mintz and Pinchas Zukerman. Yefim Bronfman became an American citizen in 1989. Born in 1936, American conductor David Zinman has risen to the pinnacle of his career in the last decade. After bringing the Baltimore Symphony to major status, he became musical director of the Aspen Music Festival and then took the helm of Zurich's beloved Tonhalle Orchestra. Zinman's discography of some 100 recordings have won five Grammys and two Grands Prix du Disque. Founded in 1868, the Zurich Tonhalle Orchestra is Switzerland's oldest symphony orchestra. Today it gives over 90 concerts each season featuring more than 50 different programs with the world's leading conductors and solo artists. David Zinman sees Piano Concerto No. 3 - the only one in a minor key - as a kind of "Eroica" for piano and orchestra. Just as Beethoven opened the door to an entirely new symphonic world with his third symphony, the Eroica, he also broke new ground with his third piano concerto. For Yefim Bronfman, the Fourth is the concerto "with the broadest emotional spectrum, and at the same time possibly the most dramati."

Customer Reviews:

Excellent - The Historically Influenced Performance I've been seeking.......2007-01-27

Zinman showed the understanding he brings to Beethoven, including being influenced by the musicological research of period-instruments leaders, with his symphony cycle.

Now, we're starting to get the same excellence on the piano concerto cycle. Quick, precise tempos combine with voluminous phrasing to give us wonderful music.

Bronfman has renown already and seems to work well with Zinman; and, he's not known as an overly romanticising pianist. (That said, I wonder how Stephen Hough would have paired with Zinman.)

Anyway, this is what I've been looking for. Buy it.

Only regret? The whole cycle isn't out yet as a boxed set! C'mon, we're waiting!

A Fine Collaboration: Zinman and Bronfman.......2006-02-05

David Zinman has clearly made the Zurich Tonhalle Orchestra his own since he became music director. The orchestra has become a finely tuned, golden hued, thoroughly vital ensemble and the fact that this pairing has resulted in perhaps the most popularly selling set of the complete Beethoven symphonies speaks volumes. Of course, the added bonus is the fine recording techniques of Arte Nova Classics AND the very affordable price of their releases!

Yefim Bronfman continues to mature into one of our finest pianists before the audience today. Though his proclivity for the 20th century masters (Bartok, Prokofiev, etc) has been well established, his probing and facile accounts of the Beethoven concerti are as profoundly romantic as they come. On this particular CD he essays both the Beethoven 3rd and 4th piano concerti with a firm grasp of the fine architecture of each piece, a phenomenal technique, and a sensitivity to the interplay with the orchestra. David Zinman's thinking is in the same vein and the response he draws from the Zurich Tonhalle Orchestra is vital and balanced and matches Bronfman's phrasing perfectly.

For a truly fine recording of these concert hall favorites this superb (and very inexpensive!) belongs in everyone's library. Highly recommended. Grady Harp, February 06

Zinman, Tonhalle Zurich, & Bronfman=Athletic, Brilliant Beethoven.......2005-11-02

Okay, so let's get right to the bottom line: Get this CD right away. No matter who else already sits on your fav shelf for this music, you will find it quite easy to add this new recording of the Beethoven 3rd & 4th piano concertos. Cheap price, too. But nothing cheap, nothing cheap at all about either the recorded sound, or the quality of these performances.

If you have heard - and liked - the approach that Zinman & Tonhalle took to their prize-winning set of the complete Beethoven Symphonies (which deservedly earned the German record critics prize, and is also at budget prices on Arte Nova) - you can settle into your home system, or mp3 player, or car stereo for lots more of that same, Beethovenish vitality.

To recap.

Zinman & Tonhalle have been influenced by all the paths opened up in the period instrument performances of baroque and classical music over the past five or six decades; without really having to play on gut strings and period instruments. So what's left? Well, somehow Zinman & Tonhalle manage their Beethoven with clarity, wit, punchy phrasing, and the wide open humanism that are the hallmarks of Beethoven's musical personality. There is not one ounce of romanticized fat in any of these Zinman-Tonhalle versions of the symphonies, and that is all to the good, since Beethoven is not at all confined to what the nineteenth century made out of him and made out of his music. In addition to the clarity, the tonal transparency that period peformance suggests, Zinman-Tonhalle also give us the rough-hewn punning, the startlingly clear and high musical intellect, and the energy that fairly bursts from Beethoven's unprecedented approach to both harmony and rhythm. Listening to Beethoven played this way, you easily credit his supposed reputation as the finest improviser of his era.

Into this notable Beethoven mix comes pianist Yefim Bronfman. He certainly has his chops. More to the point, Bronfman and Zinman-Tonhalle are worthy and alert partners throughout. Conductor & pianist see eye to eye, without losing their own insights and musical commitments. Put Tonhalle, Zinman & Bronfman together in Beethoven, and you get alchemy that is way more than the simple sum of the parts. The 3rd concerto may have been an improvement on the first and second piano concertos, even in the composer's mind; but the 4th reaches even higher and deeper. As a reference point, Bronfman's playing is closer to, say, Wilhelm Kempff or Wilhelm Backhaus or the young Leon Fleischer in this repertoire, than to more highly italicized styles of alleged romantic piano playing. This Beethoven cannot ever be confused with Chopin or Schumann or Rachmaninoff. That is just as it should be.

If the Tonhalle strings do themselves proud in accompanying, that is not to undervalue or disrespect the amazing contributions of the woodwinds and the brass. Simply everybody showed up for the sessions, and nobody was playing by rote.

All of this Beethovenian energy and sheer joy in living would be nothing if the recording engineers had not done their job, too. The sound is rather close and clear, somewhat in the old Szell-Cleveland manner; without any multi-miked glare and without any fuzz. From top frequency to bottom, the orchestra departments are all present, and nobody is sacrificed to make anybody else's point. The piano is placed just right, as a solo instrument with the rest of the orchestra, and not playing in another room somewhere on its own spot mike with the pianist wearing headphones.

One hopes dearly that this is the beginning of a complete Beethoven piano concerto cycle from Bronfman, Zinman, Tonhalle. One even dreams of Arte Nova being brave enough to redo their old Beethoven sonata cycle with Yefim Bronfman to replace Alfredo Perl. There is not a bit of glassy tone here, no matter how crisply Bronfman plays; and that would serve the piano sonatas very well (if anybody at Arte Nova is listening).

Five stars, then. Now stop reading & click your way to happy, amazed ownership. Yeah. These guys are just that good.

Outstanding!.......2005-11-02

Pianist Bronfman and conductor Zinman team up and deliver an outstanding recording of the Beethoven 3rd and 4th piano concertos. From the very opening measures of piano concerto #3 one realizes that this CD is going to be something special. Not only is the pianist great, but so is the orchestral accompaniment. Of the five piano concertos that Beethoven wrote, only his third was written in a minor key and it is awesome! It ranks along side his 3rd (Eroica) and 5th symphonies as one of his most passionate and outstanding compositions. I love all five of Beethoven's piano concertos, but the third is my favorite. The coupling of concerto #4 is also very fine. Here Beethoven is at his most lyrical, with a beautiful second movement. It is very obvious that both the pianist and orchestra are in sync in every way and relishing every moment. At a bargain price this is one CD that should not be missed!

Average customer rating:

An Introduction to Early Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Average customer rating:

Schumann in Bite-Size Bits
Schumann singing out afresh
Bracing Schumann: poetry + poise + heart
OK, and not the first set to dust off traditions
The Finest Schumann Symphonies Collection Available

Robert Schumann: Symphonies Nos. 1-4

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007PLKS4
Release Date: 2005-03-22

Tracks:

I. Andante Un Poco Maestoso
II. Larghetto
III. Scherzo: Molto Vivace
IV. Allegro Animato E Grazioso
I. Sostenuto Assai
II. Scherzo: Allegro Vivace
III. Adagio Espressivo
IV. Allegro Molto Vivace

Tracks:

I. Lebhaft
II. Scherzo: Sehr Massig
III. Nicht Schnell
IV. Feierlich
V. Finale: Lebhaft
I. Ziemlich Langsam
II. Romanze: Ziemlich Langsam
III. Scherzo: Lebhaft
IV. Langsam. Finale: Lebhaft

Album Description

"Excellence at this level serves only to renew our faith both in the vitality of the classics and in the ability of today's interpreters to triumphantly stand toe to toe with the greatest recorded documents of the past." (10/10 rating!)-CLASSICS TODAY

"In this cycle of the Symphonies with the Zurich Tonhalle Orchestra, Zinman reveals Schumann every bit as great as his friends Mendelssohn and Brahms and nearly as great as his idols Schubert and Beethoven. In Zinman's hands and as realized by the Zurich Orchestra, Schumann's First is charming and courageous, his Second is darkness and fright, his Third is awe and delight, and his Fourth is darkness to light. The Zurich Orchestra plays with a strong, warm tone and deep, radiant colors. Arte Nova's sound is richly detailed and lushly reverberant. One of the great Schumann cycles. Anyone who loves Schumann's music or German Romantic symphonies will love these discs." -ALL MUSIC GUIDE

Customer Reviews:

Schumann in Bite-Size Bits.......2006-05-18

I read the superlatives about this set and ordered it. It has very precise sound, very precise playing and it is all just so tidy and neat I can't enjoy it. The music lacks sweep, grandeur and passion. It seems to be measured out into bite-sized pieces or maybe teaspoons, a la Prufrock. Every digitized bit is precise, serially neat and easily digested, meaning the music lacks continuity and sweep - yes, sweep. I feel I am reading a book intended for a seventh-grader. I suppose one could get away with playing Haydn this way, but not Schumann. I will make the ritual recitation that I am familiar with von Karajan's set, Gardiner's, Muti's, Bernstein's second set, Szell's, Solti's, as well as Sawallisch's. Sawallisch is still my favorite, by far. Sawallisch brings you music that is voluptuous and glorious in its romanticism and accomplished musicality. I can't imagine any among the available crop of renditions making Schumann himself happier than Sawallisch's might, with the Dresden Staatskapelle - a precise but powerful instrument. Playing his set is like finding a long-lost lover. On a gorgeous spring day, full of promise and sunshine, Sawallish's Rhenish symphony takes me as far as recorded music can toward the world Schumann rendered into music. Zinman is a gifted conductor and his set is well-recorded but I don't want to play it any more. I'm glad it was not expensive.

Schumann singing out afresh.......2006-01-25

I have already had in my collection for a few years David Zinman's recording of all four Schumann Symphonies with the Baltimore Symphony Orchestra on Telarc, and I thought those were just fine. They have a natural flow and balance, and a very nice kind of polish (helped by the Telarc technicians). 'Civilized' is what springs to mind, but with a touch of Romantic grandure.
Now these new recordings with the Tonhalle Orchestra Zurich are maybe even finer - at least different; even more zestful, more energetic; and also more relief in the soundpicture. The balances here are somewhat shifted, mainly that instruments/instrument groups and accents are often more pronounced, which makes the music sound even more fresh and lively, more in the vein of a period instrument performance, but then played with a combination of both modern and period instruments. (Period instruments are used for: horns, trumpets, alto trombone, tenor trombone and bass trombone; violins, violas, cellos, double basses, flutes, oboes, clarinets and bassoons are modern.) The best of both worlds, surely; whoever thought this up must be a d*mn genius, for it all blends perfectly and it all sounds completely true and natural. The First or 'Spring' Symphony (maybe the high point of this cycle) has maybe never sounded so invigoratingly fresh!
This freshness of playing is surely also helped by the crisp and direct recording, which is maybe even better than for Telarc: a little clearer and a little more acoustic space around the instruments. And also, everywhere the speeds are (almost) all consistently faster. I like that; it never sounds hurried to my ears. On the contrary, to my (amateur) ears these more 'pressing' speeds underline the consistent genius of Schumann and make these works sound like the coherent masterpieces that they undoubtedly are. And at the same time Zinman and the Tonhalle Orchestra Zurich invigorate the music with new energy and freshness.
This newly recorded cycle is a gem (not even considering the impossibly low price for which it sells!). I have done a long time with Zinman's earlier Baltimore set - which I still love -, and with this new addition I really will not be needing anything else for a very long time ... IMHO Schumann really is one of the greatest symphonists, and it is proved here - again - by Zinman. Simply wonderful!

Bracing Schumann: poetry + poise + heart.......2005-12-04

Anyone who has heard and appreciated Zinman's complete set of the Beethoven Symphonies with the Tonhalle Zurich, will get the point of this new issue, a complete set of the four Schumann Symphonies, again with the Tonhalle.

Zinman isn't afraid of setting tempos whose speeds are more commonly met by period instrument groups. As with the Beethoven readings, he uses newly edited sources, and plays everything to the hilt. The Tonhalle seems quite reduced in size in these recordings, such that strings zip along in an altered balance with brass and with woodwinds, compared to the older, slower, heavier performance manner most world orchestra's inherited from the nineteenth century bands (who tended to play in larger and larger halls as time passed and the middle class flocked to concerts as to social occasions).

Any past muddiness in the orchestral texture simply disappears in this edition. This clarity of texture is enhanced further with the genius of Zinman's verve. In some passages, chamber music textures are easily achieved, making you revise your opinions of Schumann's orchestral genius. Even going full tilt, Zinman keeps the touch light and lively and agile.

You feel as if you are meeting the young Schumann for the first time, especially as the First Symphony takes off. He has a glint in his eye, does this fellow. Small wonder that Clara's father realized he'd better rope off this visitor a bit around his daughters. This is the kind of Spring season that makes you want to leave the house, without a coat, finally unencumbered by winter. Let fall, all cold weather reticence, and heavy clothing. Depending on just how young you feel, this first symphony may make you want to strip down further, just to feel the Spring breezes on your skin in places where polite musical conversation isn't exposition, but falls back into a murmur, musing out loud about nothing and everything lovely in particular.

Fortunately, even with all this lightness and the reduced size of the Tonhalle, there is still enough weight to make the stronger musical points, though without the kinds of heavy, Romantic indulgence we have sometimes accepted as the norm. Indeed the alleged heaviness of Schumann's orchestrations is nowhere in evidence here. A quicksilver metamorphosis inhabits this music, and Zinman almost uniquely let it play among the high gifts of each department of the Tonhalle orchestra.

Continuing through the remaining three symphonies, Zinman just keeps making fresh magic in his performances of each of the remaining three. The second symphony's slow movement (for example) isn't the least bit ponderous, but doesn't lose one ounce of its lyrical heart in the alchemical process of its lightening. In fact, with the more transparent orchestral textures Zinman crafts with his marvelous Tonhalle players, you hear many passing moments of felicity in woodwind or string phrasing. These moments are there, too, in the older, heavier performances; but just easier to hear with Zinman. Can it be that Zinman will help you hear and re-hear your older Romantic readings of these symphonies? Seems possible, if you pay attention to the lessons he is teaching.

With the Third Symphony, Zinman manages to bring more shadow, more seriousness to phrasing. Tempos slow down, ever so slightly, so that maestoso can be conveyed, rhetorically. Zinman and band also pass the critical feierlich test in the odd movement, said to have been evoked on the occasion of a holy elevation of an archbishop at Cologne Cathedral. Throughout the horn and brass are burnished, with solos that carry drama and narrative substance. While in the first two symphonies the horns and trombones were blended more with the other brass and woodwinds, their special Solemnity is captured here, even with reduced forces. The slow movement, preceeding the feierlich one, is another miracle of musical inflection and phrasing, without for one second sounding indulgent or mannered. The spirit of chamber music is revealed in this music, every bit as much as the spirit of the symphony.

The Fourth Symphony provides a fitting conclusion to the set. I found myself wishing that Schumann had had more confidence in himself as an orchestral composer, so fetching is the music made throughout this set of four. Who wants it to end? But end it does, with Schumann setting out the ground rules for innovative cyclical form in music; lessons not lost on many of his contemporaries and descendants. As it happens, the added maestoso touches heightened in the second and third symphonies, continue into and throughout the Fourth. The tempo changes no longer seem so awkward, and a contrapuntal depth of story consistently emerges via the enabling consensus of the players.

Truly, there are other valid approaches to Schumann. I will still return to the shelf where sit older, prized red book CD performances. Sinopoli and Vienna doing the Second Symphony. Haitink and the Concertgebouw doing all four. And, can it be? Zinman and Baltimore on pre-SACD Telarc show how to play these symphonies with something like the old, burning Romance. I also listen to Solti, Kubelik, Karajan, Klemperer, Mehta - and as they become available again, James Levine with the Philadelphia Orchestra.

The nice thing is, at this price, you really don't have to do without much except maybe a few pricey Lattes, just because you purchased this set. The sound is good enough to completely get out of the way of the music, letting you hear everything Zinman and Tonhalle are doing. The hall isn't especially present, except in those larger moments when it resounds, and the venue point is made.

Five stars, stars, stars, stars. Highly recommended. Do check out the earlier Zinman with Baltimore, now newly released on midpriced Telarc. And do look out for James Levine/Philadephia as they re-appear.

OK, and not the first set to dust off traditions.......2005-09-26

This is an decent set and a good recommendation but after a few more listens I would rewrite this and downgrade it a star and a half (something you can't do when you re-edit a published review).

PRIMARILY

It's getting a bit tiresome reading reviews of new Schumann where each new entry "finally gets it right" or "reveals new and deep insights into Schumann's music" or other such rubbish. Szell's old set is great, Bernstein's first set is terrific, Paray's ancient recordings on Mercury are a revelation, and plenty think Furtwangler's Fourth is amazing. Then there's the completely unknown recent set with Florian Merz and a Dusseldorf orchestra--totally nutty and fun. There're plenty more, including Harnoncourt's readings that at times are transcendental.

Think about it. If Schumann was the incompetent, psychotic, lame-o that many paint him to have been, then why in heck did so much of his music, and especially these symphonies, stay in the repertoire for so danged long? I seriously doubt 150 years of playing "mud" (as many have described his so-called bad orchestration) would have endeared his music to too many. I seriously doubt that great conductors of previous generations couldn't have figured out how to make this music sound right; that it took a Gardiner or a Zinman to finally make sense of it.

Also, enough with the "crazy" thing. Bruckner was OCD big-time and nobody feels obliged to mention that in every review of a Bruckner symphony. Plenty of other great artists have gone bonkers and we let it go. To listen to Schumann looking endlessly for symptoms of bi-polarity is a waste of time. Sonata form is, almost inherently and by definition, "bi-polar." Exciting or emotional music is not "mania." Enough already.

[Added note: I'm bothered by the growing "hysteria" over some newer recordings that are, with reflection, competent and entertaining--like these--without being spectacular. I sense, and hopefully I'm wrong, a generation of listeners who haven't heard a lot of the old masters conducting or are, worse, avoiding them because of earlier recording technology limitations. I'm one of those grouches who argues that a grizzled German conductor who played skittle with Richard Strauss and drilled his orchestra like a Prussian officer may have had an edge--interpretation-wise--over, say, some modern 38-year-old suburbanite Julliard grad or similar who is wrapped up in a lot of PR and promotion hype. Sorry, but a wunderkind like Simon Rattle is not going to plumb the depths of Mahler as well as Bruno Walter, who was Mahler's assistant. The standard repertoire is, historically, fading fast, and with few exceptions (Shostakovich's, Britten's) there aren't many acknowledged and frequently played masterpieces after Bartok wrote the Concerto for Orchestra in the 1940s. Scary but true. So we're looking at a generation of conductors rapidly getting out of touch with the bulk of great Western art music]

The Finest Schumann Symphonies Collection Available.......2005-09-26

David Zinman keeps a low profile and aims all of his energies toward making music, and 'making music' is precisely what he accomplishes in this set of all four of Robert Schumann's symphonies. While there are other individual recordings and some complete collections of these works that have found favor with the Romantic audience, this set provides Zinman and his Zurich Tonhalle Orchestra the access to the top of the mound!

Schumann's life and work are the topics of many poets, writers, critics, and scholars and at times his melancholia and sad demise overshadow his exemplary compositions. While most accept him as one of the most important lieder composers, standing proudly beside Schubert and Hugo Wolf, his symphonies are often consider passé. But Zinman and his orchestra grandly demonstrate that far from being secondary works, these four symphonies rival the majesty and imagination of Brahms, Mendelssohn, and even Mahler and Beethoven? Heresy? Just listen to these very alive, illuminating readings of these forward looking works and hear your ears and heart change their minds.

Each of the four works stands equally, though many (as this listener) may find the treasureable Spring Symphony (No. 1) the crowning performance. Zinman favors brisk tempi, clarity of phrasing, and the rapture of the Romantic vision and the result is simply some of the finest orchestral playing and sound on recording. Add to this the inexpensive price tag for this 2 CD set and there leaves no reason not to build your library with works that deserve a prime position. The recorded sound is rich and full while delineating every detail and nuance. Highly Recommended. Grady Harp, September 05

Average customer rating:

Another great trip down the MFU memory lane
The best of the three Double CDs ORIGINAL soundtrack release

The Man From U.N.C.L.E., Vol. 2

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

General | Classical | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

The Man From U.N.C.L.E.
The Man from U.N.C.L.E., Vol. 3
Man from U.N.C.L.E.
Honey West
The Saint/Secret Agent

ASIN: B0006SSQ7U
Release Date: 2005-01-04

Tracks:

First Season End Title
Vulcan Affair (Suite No. 2)
Iowa-Scuba Affair
Shark Affair
Deadly Games Affair (Suite No. 2)
Meet Mr. Solo
Giuoco Piano Affair
King of Knaves Affair: Suite No. 2
First Season Main Title [Revised]
Deadly Decoy Affair
Spy With My Face
Second Season Main Title
Alexander the Greater Affair
Ultimate Computer Affair
Very Important Zombie Affair
Dippy Blonde Affair
Seadly Goddess Afair
Moonglow Affair

Tracks:

One of Our Spies Is Missing
Third Season Main Title
Sort of Do-It-Youself Dreadful Affair
Galatea Affair
Pop Art Affair
Come With Me to the Casbah Affair
Off-Broadway Affair
Concrete Overcoat Affair
Napoleon's Tomb Affair
Alternate Fourth Season Main Title
Fourth Season (End Title)
Test Tube Killer Affair
Prince of Darkness Affair
Seven Wonders of the World Affair

Customer Reviews:

Another great trip down the MFU memory lane.......2005-10-19

Volume 2 (comprised of 2 CDs) is another first rate compilation of the series' original music and not to be missed by U.N.C.L.E. fans. The liner notes are wonderful and add a lot to ones appreciation of the music.

My only problem is that THE CDs ARE COPY PROTECTED! Considerable work is needed to get the music onto your iPod, if you really want the music in your mp3 collection. This is a major hassle and a surprise, since the first set in the series was not copy protected.

The best of the three Double CDs ORIGINAL soundtrack release.......2005-07-12

Many of us have always thought The Man From UNCLE had the best music for a TV series ever, and this three double CD release confirms this. Wow! I'd be just happy with one CD, but having SIX (three double CDs packages) is absolutely out of this world, I mean, a lifetime wait come true.

Indeed, this is an unbelievable collection of three double CDs packages with the complete series soundtrack, and I mean the complete music, not a tune is missing.

And this is the ORIGINAL Man From Uncle music. Let me stress the point: this is the four years ORIGINAL soundtrack with the original recordings as they were heard throughout the series, not a no-name orchestra doing personal versions of the stuff. The audio transfer is very, very good, the music from late episodes is even in stereo.

Each individual CD carries over 70 minutes of music. All in all there you have the four TV seasons main titles and all, absolutely all of TMFU unforgetable music.

This is not a chronological release, meaning, all CDs have a mix of music from all four TV seasons. Volume 1 is heavier on early TV seasons stuff, fans of Jerry Goldsmith will love it. Those of us who prefer what Gerald Fried and later Richard Shores did with TMFU music, then volume 2 is mandatory. If you are a fan, you can't miss any of these six CDs. However if buying all three double packages is too much for you, you must go with Volume 2, no questions asked. Volume three is the weakest of them as it brings "suites" and a whole CD with "The Girl From Uncle" soundtrack, but you have a bonus "Open Channel D" beeper.

Each package is gorgeous, each with a glossy color booklet with extensive liner notes with details on how each tune was written to a specific TV series episode and how it was used onwards. You have bios on the composers, on how the recordings were made, even an overview on how many instruments were available in each of the years the music was recorded.

So, throw away your Hugo Montenegro Man From Uncle CD, this is the REAL thing.

Average customer rating:

Furtwangler: Symphony No. 3
Albrecht , and Weimar Staatskapelle
Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Wilhelm Furtwängler: Symphony No. 1
Wilhelm Furtwängler: Symphony No. 2
Hans Rott: Symphony No. 1; Orchestral Works
Furtwangler: Symphony No. 2
Weingartner: Symphony 2 [Hybrid SACD]

ASIN: B000BO0KYQ
Release Date: 2005-11-08

Tracks:

I. Largo (Mesto, Pesante) (Diary: 'Verhangnis')
II. Allegro (Diary: 'Der Zwang Des Lebens')
III. Adagio (Diary: 'Jenseits')
IV. Finale: Allegro Assai (Diary: 'Der Kampf Geht Wieter')

Album Description

Famous to the world as one of the greatest conductors of the 20th century, Wilhelm Furtwängler (1886-1954) preferred to be thought of as a composer. He wrote his Third Symphony in two versions, one with three movements and one with four. George Alexander Albrecht has become one of the most versatile conductors of his generation. He was awarded the Gustav-Mahler-Goldmedaille in 1985 for his performances of the complete works of Mahler and is the author of the book Die Symphonien Gustav Mahlers. He has put great effort into performing seldom-played works, including the compositions of Wilhelm Furtwängler, whose symphonies he is editing as the president of the Furtwängler Society. He has recorded the Furtwängler Second for Arte Nova as well.

Beethoven: Symphonies 5 & 6 ("Pastorale")

Average customer rating:

Zinman's Fifth Symphony Is Tops--and His Sixth Isn't Far Behind

Beethoven: Symphonies 5 & 6 ("Pastorale")

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Beethoven: Symphonies No. 7 & 8
Beethoven: Symphonies 3 "Eroica" & 4
Beethoven: Symphony No. 9
Beethoven: Symphonies 1 & 2
Beethoven: Piano Concertos 3 & 4

ASIN: B0007PLKSO
Release Date: 2005-03-08

Tracks:

I. Allegro Con Brio
II. Andante Con Moto
III. Allegro
IV. Allegro
I. Allegro Ma Non Troppo
II. Andante Molto Moto
III. Allegro
IV. Allegro
V. Allegretto

Album Description

"Readers who know the Tonhalle Orchestra only from likeable old records by Josef Krips, Otto Ackermann and Franz Lehar will be astonished at the brilliance and polish of these performances. David Zinman assumed the orchestra's Music Directorship for the 1995-6 season and his skill as an orchestral trainer has consolidated a dramatic improvement in playing standards. I fondly remember attending recent Argo sessions for a Honegger collection (the planned CD is as yet unissued) and noting Zinman's painstaking attention to details of phrasing. Here, as there, Chris Hazell was the producer, and the sound quality of these (1997) sessions is truly state-of-the-art. As to the performances, tempos are very fast, phrasing trimly tailored (sometimes even a trifle abrupt) and rubato kept well in check. In the Fifth Symphony, Zinman plays all three repeats (first movement, Scherzo and finale) and his handling of the Scherzo's double-bass Trio (track 3, 1'37'') - where the players keep up the pace without slackening - deserves a round of applause. The Pastoral's proto-minimalist first-movement development section flies off at a fair lick and the slimline peasants make merry with energy to spare...I would strongly recommend this CD to readers who know their Klemperers, their Toscaninis and their Furtwanglers backwards, who fancy investigating some scholarly emendations but who dislike period-instrument sonorities. Come to think of it, even the period-instrument brigade stand to learn a thing or two: Zinman's performances offer further illumination of a route that Norrington, Gardiner, Bruggen, Hogwood, Harnoncourt and others have explored with! such fascinating results. They also provide a peach of a bargain..." GRAMOPHONE

Customer Reviews:

Zinman's Fifth Symphony Is Tops--and His Sixth Isn't Far Behind.......2006-01-25

I'm collecting Zinman's well-received Beethoven series piecemeal. I've already collected the Ninth, Third, and Fourth Symphonies, and I must say this disc of the Fifth and Sixth is the finest in the set (though not by far since the overall quality is quite high). Zinman's Fifth is simply one of the finest available, and I've heard lots of Fifths in my day. The tension in the first movement, with its famous "fate" motif is palpable, and the finale is thus a true celebration of the composer's--or anybody's--victory over fate. That last movement is wonderfully joyous and unbuttoned. Along the way are a truly patrician slow movement and a volatile scherzo, with a suitably menacing opening and quicksilver trio. Initially, I thought the end of the slow movement might be a little fast, but then I consider that I don't have access to the Barenreiter score, plus, Zinman is merely being flexible here. The speeding up at the end gives added drama to the slow movement and makes the whole seem like a scene from an opera, causing us to remember that opera, namely "Fidelio," was very much on Beethoven's mind at the time.

Zinman's orchestra, not always on top of every detail, is wonderfully "there" throughout this performance, from the blazing horns in the first movement (and the horns occasionally fail Zinman in other works) to the majestically guttural cellos and bases in the finale. Woodwinds are especially colorful and well captured by the engineers.

The Sixth is almost equally fine though maybe not at the very top of the heap as performances go. Zinman turns in a classical reading in the Toscanini manner. Tempos are quick, the textures lithe and lean throughout. As I would expect, Zinman really delivers in the fourth movement depicting the summer storm. And again, the finale is a true celebration that mounts beautifully to the radiant close.

As far as the Barenreiter version of the score is concerned, the most egregious differences, for me, lie in the Third Symphony, where the winds seem to have lots of special little curlicues to play and a solo violin makes a surprise appearance in the finale. There is less to remark on in the Fifth and Sixth Symphonies, especially the Sixth, where the only differences I note are the fussy little filigrees in the exposition of the oft-repeated first melody of the first movement and tiny trills in the flutes in the dancing third movement. The one immediately obvious difference in the Fifth is the extended oboe cadenza in the first movement.

Unless you're a professional musician with access to the scores, you probably won't be interested in buying the Zinman performances because of the version he conducts from. But you will want to get this disc to hear two of the finest versions available of these beloved masterworks, in sound that is full, clear, and powerful without close miking or spotlighting. The price can't be beat, either.

Piano Strings Tribute to the Music of Celine Dion

Average customer rating:

A Calm Way to Enjoy Celin's Hits

Piano Strings Tribute to the Music of Celine Dion

Manufacturer: Tribute Sounds
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

General | Rock | Styles | Music

General | Compilations | Rock | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

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General | Vocal Pop | Pop | Styles | Music
Similar Items:

Piano Strings Tribute to the Phantom of the Opera
Piano Strings Tribute to Barbra Streisand
All The Way...A Decade of Song
Wicked (2003 Original Broadway Cast)

ASIN: B0002DB5CW
Release Date: 2004-07-13

Tracks:

A New Day Has Come
That's The Way It Is
My Heart Will Go On
To Love You More
It's All Coming Back To Me Now
Because You Loved Me
The Power Of Love
Beauty And The Beast
All By Myself
The Prayer

Product Description

1. A New Day Has Come
2. That's The Way It Is
3. My Heart Will Go On
4. To Love You More
5. It's All Coming Back To Me Now
6. Because You Loved Me
7. The Power Of Love
8. Beauty And The Beast
9. Nothing Broken But My Heart
10. All By Myself

Format: CD

Customer Reviews:

A Calm Way to Enjoy Celin's Hits.......2005-07-08

This album has collected most of Celin's greatest hits and played them to the piano with a pleasant suggestion of the stringed instruments in the background. It would be more complete if Where Does My Heart Beat Now and I Drove All Night were also included. Nevertheless, the orchestration is awesome, and the music overall is very soothing. The tempo is slow and benefitial for studying or just relaxing. The tracks just melt into each other, and you find yourself filling the lyrics to the various songs as they play. This Cd is especially good if you are an enthusiastic fan of Celin Dion and classical music because the two concepts are blended in this album. And even if you are neither, the music is quite calming anyways.

Average customer rating:

F.A.N.T.A.S.T.I.C.!
At LAST the complete series ORIGINAL soundtrack, the wait is over!

The Man From U.N.C.L.E.

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

General | Classical | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

The Man From U.N.C.L.E., Vol. 2
The Man from U.N.C.L.E., Vol. 3
The Man from U.N.C.L.E. Book: The Behind-the-Scenes Story of a Television Classic
In Like Flint / Our Man Flint: Original Motion Picture Soundtracks
Man from U.N.C.L.E.

ASIN: B0006SSQ8E
Release Date: 2005-01-04

Tracks:

First Season Main Title
Vulcan Affair
Deadly Games Affair
Double Affair
Project Strigas Affair
King of Knaves Affair
Fiddlesticks Affair
Meet Mr. Solo
First Season End Title
Second Season End Title
Alexander the Greater Affair

Tracks:

Foxes and Hounds Affair
Discotheque Affair
Re-Collectors Affair
Arabian Affair
Tigers Are Coming Affair
Cherry Blossom Affair
Dippy Blonde Affair
Third Season End Title
Her Master's Voice Affair
Monks of St. Thomas Affair
Pop Art Affair
Fourth Season (Main Title)
Summit-Five Affair
"J" for Judas Affair

Customer Reviews:

F.A.N.T.A.S.T.I.C.!.......2006-02-02

I've got the original music (including v2 and v3), the books (the best is Heitland's The Man from U.N.C.L.E. Book; still in print);
the 22 VHS tapes issued in the early 1990's (a haphazard collection issued in no particular order of episodes that boasted famous guest stars). Can I please get the whole series on DVD? I have not seen Mother Fear toying with Illya (The Children's Day Affair) in over 40 years.

At LAST the complete series ORIGINAL soundtrack, the wait is over!.......2005-07-12

A Celebration of Christmas: Carols Through the Ages

Average customer rating:

A Celebration of Christmas: Carols Through the Ages

Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

Holiday Music | Compilations | Miscellaneous | Styles | Music

General Christmas | Holiday | Miscellaneous | Styles | Music

Opera & Vocal | Holiday | Miscellaneous | Styles | Music

General Christmas | Holiday Music | Special Features | Music

Opera & Vocal | Holiday Music | Special Features | Music
ASIN: B0000023F9
Release Date: 1994-01-04

Tracks:

Patapan
We Three Kings Of Orient Are
I Saw Three Ships Come Sailing
The Coventry Carol
It Came Upon The Midnight Clear
Good King Wenceslas
Once In Royal David's City
Rocking
The First Nowell
God Rest Ye Merry Gentleman
Wither's Rocking Hymn
Silent Night
Wassail Song
Dormi Jesu!
Boar's Head Carol
Past Three O'Clock
Lullay My Liking
Adam Lay Ybounden
Herrick's Carol
Angelus Ad Virginem
The Holly And The Ivy
O Little One Sweet
Songs Of The Nuns Of Chester
Winter-Rose
In Dulce Jubilo

Tracks:

Deck The Halls
Hark! The Herald Angels Sing
Lute-Book Lullaby
Ye Shepherds
Joy To The World
Down In Yon Forest
People, Look East
Blessed Be The Maid Marie
Sir Christmas
Lo, How A Rose E'er Blooming
O Come, All Ye Faithful
The Twelve Days Of Christmas
Here We Come A-Wassailing
All My Heart
Joseph Dearest (Song Of The Crib)
I Saw Three Ships
How Far Is It To Bethlehem?
The Birds
The Old Year Now (Greensleeves)
A Merry Christmas

Tracks:

Gymel Of Guilelmus Monachus
Anon.: Nowell, Nowell: Tidings True
Roy Henry: Sanctus
Anon: Blessed Be Thou, Heavenly Queen
Anon: Qui Natus Est
Anon: Carol With Burden
Anon: Nova, Nova
Anon: Angelus Ad Virginem
Anon: Hail Mary, Full Of Grace
In Die Nativitas
Anon: There Is No Rose Of Such Virtue
Kyrie
Quid Petis O Fili
Anon: I Saw
Anon: Nowell, Nowell: Out Of Your Sleep
Fauxbourden Of Guilelmus Monachus
Quam Pulcra Es

Tracks:

Anon: De Nativitate Domini
Ave Maria
Decet Huius Cunctis Horis
In Nativitate Domini
O Regina, Lux Divina
Hodie Christus Natus Est
Nesciens Mater
Et In Terra Pax
Crist And Saint Marie
Sancta Maria
O Maria Virgo
Gloria
Puer Natus
Foeno Iacere
Maria Zart
Beata Progenies
Alleluya Psallat

Rock Music:

Rock Music

rock music