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Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock

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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:

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

Tracks:

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

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...

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.

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.

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.

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.

Average customer rating:

"Simply a Stunner"
Good choice for opera lovers.

Simply the Best Night at the Opera
Giacomo Puccini , Jacques Offenbach , Gaetano Donizetti , Georges Bizet , Gioachino Rossini , Wolfgang Amadeus Mozart , George Frideric Handel , Igor Stravinsky , Jules Massenet , Antonin Dvorak , Camille Saint-Saëns , Benjamin Britten , Claudio Monteverdi , Giuseppe Verdi , Hector Berlioz , Charles Gounod , Henry Purcell , Pyotr Il'yich Tchaikovsky , Richard Wagner , English Chamber Orchestra , Munich Bavarian State Orchestra , Strasbourg Philharmonic Orchestra , Lyon National Opera Orchestra & Chorus , Prague Symphony Orchestra , Orchestre National de France , Berlin Philharmonic Orchestra , and Halle Orchestra
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000J9HR
Release Date: 1999-07-06

Tracks:

Turnadot: Nessun Dorma
Gianni Schicchi: O mio babbino caro
Les Conte d'Hoffmann: Messiers, Silence!
L'Elisir diAmore: Una fortiva lagrima
Carmen: Je Dis que rien ne m'epouvant
Les pecheurs de perles: Au fond du temple saint
L'Inganno felice: Al piu dolce
Cosi fan tutte: Soave sia il vento
Xerxes: Ombra mai fu
The Rake's Progress: Quietly, night
L'Italiana: Gia d'insolito ardore nel petto
Les Contes d'Hoffmann: Les oiseaux dans la charmille
Werther: Pourquoi me revieller
Rusalka: Song To The Moon

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La Boheme: O soave faciulla
Samson et Dalila: Mon coeur s'ouvre a ta voix
La nozze di Figaro: Voi, che sapete che cosa e amor
Billy Budd: Look! ... Through The Port Come The Moonshine Astray!
L'Incoronazione di Poppea: Lameto di Ottavia: 'Diprezzata Regina'
Rigoletto: Gaultier Malde ... caro nome
Manon Lescant: Donna on vidi mia
Madama Butterfly: Un bel di vedreno
La Damnation de Faust: D'amour l'ardente flamme
Faust: Vous qui faites l'endormie
Dido's Lament: Thy Hand, Belinda - When I Am Laid In Earth
Yolanta: Scene & Monologue By Ibn Hakia
Carmen: Votre toast, je peaux le rendre
TOSCA: E lucevan le stelle
Tannhauser: Wie Todesahnung Damn'rung deckt die Lande ...

Customer Reviews:

"Simply a Stunner".......2006-07-21

Ideal for an opera lover, or for anyone who loves gorgeous singing. I am an opera nut and was introduced to this one by accident; "Au gond du temple saint" from Pearl Fishers (selection #6, disc one) was playing on the stereo in the Metropolitan Opera giftshop when I walked in at intermission one night. I thought it was so stunning I bought my first copy of the CD then and there; and have bought 2 other "back-up copies" since then, as well as having it on my iPod.

Good choice for opera lovers........2001-08-16

If you are in search of a cd containing various popular pieces from the greatest operas in the world, then search no more. This cd contains classic operatic pieces, sung by some of the most talented tenors and sopranos out there, including Placido Domingo. Madame Butterfly's Un Bel Di and Turandot's Nessun Dorma are, without a doubt, two of the most emotional and dramatic songs ever composed. Fortunately, this inexpensive two cd set includes those songs and many more. This cd is a delight to own, whether or not you've ever attended an opera.

Average customer rating:

Excellent Choice to Sample Composers and Musicians
Makes you feel like your in heaven
Yee haw whut fine moosic

More Tears from Heaven

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

Excellent Choice to Sample Composers and Musicians.......2004-11-26

World class musicians performing masterpieces. So many sampler CDs offer mediocre performers, but the musicians here are the cream of the crop. The choice of composers is also inspired. This is a great way to test the waters on choral music and find favorites without having to break the bank. One of my all time favorite CDs.

Makes you feel like your in heaven.......2002-02-23

I wish I could hear these musical pieces live. This, though, is the closest thing to doing that.

Yee haw whut fine moosic.......2000-05-11

ah pow'ful injoy this hyar CD. It soun's fine an' ah love th' sin'in' an' sco'es. A fine colleckshun af'er th' fust CD. ah particularly liked th' rendishun of that there Sergei Rachmaninov boys tune.

Handel - Messiah / Vyvyan · Sinclair · Vickers · Tozzi · Royal PO · Beecham

Average customer rating:

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
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ASIN: B000003FB8
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Tracks:

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

Tracks:

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

Tracks:

Messiah: Recit: Unto Which Of The Angels (Tenor) - Jon Vickers
Messiah: Chorus: Let All The Angels Of God Worship Him - John McCarthy
Messiah: Air: Thou Art Gone Up On High (Bass) - Giorgio Tozzi
Messiah: Chorus: The Lord Gave The Word - John McCarthy
Messiah: Recit: Then Shall Be Brought To Pass (Contralto) - Monica Sinclair
Messiah: Duet: O Death, Where Is Thy Sting? (Contralto & Tenor) - Monica Sinclair
Messiah: Chorus: But Thanks Be To God - John McCarthy
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:

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.

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

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.

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.

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!"

Average customer rating:

A good collection
A Musician of Great Dignity and Style
Passed the "Opera in English" test with flying colors.

Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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A Treasury of English Song
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More Songs My Father Taught Me
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Great Baritone Arias

ASIN: B0006SGF1Y
Release Date: 2005-02-22

Tracks:

'Even Bravest Heart My Swell'
'I Am The Barber Everyone Wants, I Am!
'Must I Be Made To Suffer'
'Look Down, Oh Gentle Evening Star'
'You Have My Love And My Devotion
'Oh Wine, Deliver Me From Sadness' - Geoffrey Mitchell Choir
'Marriage Is Sacred' - I Was Right To Be So Suspicious'
'Turning My Gaze Upon This Proud Assembly'
'O Nadir, Best Of Friends'
Billy In The Darbies
'Though I'm Somewhat Out Of Practice' - Janice Watson
'Hello, Here's A Soldier Bold' - Janice Watson
'I Wonder What He'll Think Of Me!'
'In Visions, Illusions'

Customer Reviews:

A good collection.......2007-05-14

Unlike the huge names, collections by Allen are not many - plenty of his opera performances are recorded, but there are only a few collections. My voice teacher recommended I listen to him to understand better how to deliver power without weight, something we've been working on. Yes, it's all in English, but that's fine, and the quality of Allen's instrument comes through very well.

A Musician of Great Dignity and Style.......2005-07-27

Sir Thomas Allen is one of the enduring baritones who has been able to move throughout the operatic repertoire and the recital stage with intelligence, informed characterization, and immaculate musicianship. To have a recording of some of the roles he has inhabited at this point in his career is a gift (this CD was recorded in 2003). To have the added challenge of retaining the stature of the roles while sung in English translations at the request of Chandos is a credit to his abilities and communicative powers.

English is a difficult language to make musical, though saying that abruptly is countered by the fact that some of the most beautiful operas in history are by Benjamin Britten, a composer who truly understood his native tongue and kept it as fluid as the soaring melodies he wrote, as Thomas Allen proves here in 'Billy in the Darbies' from Britten's 'Billy Budd'. It is the other major arias from Korngold to Wagner to Tchaikovsky to Rossini, Bizet, Mozart, Gounod, Verdi, Thomas, Strauss, and Lehar that Allen proves that English translations do not detract at all from the performances!

For those purists who prefer opera sung in the original language (and for those who don't even need supertitles in the opera house!), then this recording may provide a temporary barrier to respecting Allen's singing. But once caught up in the ease with which he moves from style to style and comedy to drama, it is hard not to relinquish old preferences and not be wholly impressed with the beauty of the voice and the warmth and dignity of this fine musician. Highly recommended. Grady Harp, July 05

Passed the "Opera in English" test with flying colors........2005-07-04

For me, the test here was Figaro's Cavatina, from Rossini's Barber of Seville - sung in English, as is this entire compilation of 14 operatic favorites, sung by baritone Sir Thomas Allen. Could he pull it off? Could Chandos pull it off? The answer is an unequivocal, unqualified yes! The secret in singing classics in English, that were written and scored in another language, is in three things: pacing, vocal agility and appreciation for "fit", and what greater test for tongue and timing than Figaro? When you listen to this one song, you will understand why Chandos and its benefactor, Sir Peter Moores have such a passion for their Opera in English series. Sir Allen's voice is a matured unmistakably settled baritone voice that contains a lifetime's worth of understanding of the music and words he imparts through his magnificent delivery. For example, when he sings, Tchaikovsky's "You have my love and devotion" from The Queen of Spades, he delivers a smooth and deeply emotional rendition that lacks nothing in translation. Wagner's "Turning my gaze upon this proud assembly", from Tannhäuser is another example of how fine, full orchestration behind a seasoned voice that waxes eloquent with every phrase, can create a mood of relaxed familiarity with word and music, that may be lacking when sung in another tongue. Great Operatic Arias, serves up a smorgasbord of tunes that are familiar, made more so by the care and attention given to creating a place for the Opera in English series in every home library. The mood here is romantic, relaxed and with few exceptions consistent throughout. If you haven't heard Opera in English, this might be a good way to start, given the fact that the listener gets to sample how different composers might sound in other than German, Italian or French. You might be surprised to discover that when done with care, as is obviously the case here, the sound is about as good as it gets. As an added bonus, the booklet that comes with the CD is full of pictures, libretto in English, and biography that gives us a good insight into history of the singer and his identifying rolls.

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Handel: The Great "Messiah" Choruses
George Frideric Handel , Richard P. Condie , Royal Philharmonic Orchestra , and Mormon Tabernacle Choir
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Messiah: An Oratorio Complete Vocal Score (G. Schirmer's Editions of Oratorios and Cantatas)

ASIN: B00000DRW8
Release Date: 1990-10-25

Tracks:

Messiah: Glory To God In The Highest
Messiah: And The Glory Of The Lord
Messiah: Lift Up Your Heads
Messiah: Behold The Lamb Of God
Messiah: His Yoke Is Easy
Messiah: Worthy Is The Lamb
Messiah: For Unto Us A Child Is Born
Messiah: But Thanks Be To God
Messiah: Surely He Hath Borne Our Griefs - And With His Stripes We Are Healed - All We Like Sheep Have Gone Astray
Messiah: Hallelujah

Average customer rating:

Finally a Messiah with fervor!
Great recording!
Good and Bad
This is a great recording!

Handel: Messiah

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Christmas at Trinity

ASIN: B00002R16A
Release Date: 1999-11-30

Tracks:

Messiah: No. 1 Overture
Messiah: No. 2 Arioso For Tenor
Messiah: No. 3 Air For Tenor
Messiah: No. 4 Chorus
Messiah: No. 5 Recitative For Bass
Messiah: No. 6 Air For Bass
Messiah: No. 7 Chorus
Messiah: No. 8 Recitative For Alto
Messiah: No. 9 Air For Alto And Chorus
Messiah: No. 10 Arioso For Bass
Messiah: No. 11 Air For Bass
Messiah: No. 12 Chorus
Messiah: No. 13 Pifa (Pastoral Symphony)
Messiah: No. 14a Recitative And No. 14b Arioso For Soprano
Messiah: No. 15 Recitative For Soprano
Messiah: No. 16 Arioso For Soprano
Messiah: No. 17 Chorus
Messiah: No. 18 Air For Soprano
Messiah: No. 19 Recitative For Alto
Messiah: No. 20 Air For Alto And Soprano
Messiah: No. 21 Chorus
Messiah: No. 22 Chorus
Messiah: No. 23 Air For Alto
Messiah: No. 24 Chorus
Messiah: No. 25 Chorus
Messiah: No. 26 Chorus

Tracks:

Messiah: No. 27 Arioso For Tenor
Messiah: No. 28 Chorus
Messiah: No. 29 Recitative For Tenor
Messiah: No. 30 Air For Tenor
Messiah: No. 31 Recitative For Tenor
Messiah: No. 32 Air For Tenor
Messiah: No. 33 Chorus
Messiah: No. 34 Recitative For Tenor
Messiah: No. 35 Chorus
Messiah: No. 36 Air For Alto
Messiah: No. 37 Chorus
Messiah: No. 38 Aria For Soprano
Messiah: No. 39 Chorus
Messiah: No. 40 Air For Bass
Messiah: No. 41 Chorus
Messiah: No. 42 Recitative For Tenor
Messiah: No. 43 Air For Tenor
Messiah: No. 44 Chorus
Messiah: No. 45 Air For Soprano
Messiah: No. 46 Chorus
Messiah: No. 47 Recitative For Bass
Messiah: No. 48 Air For Bass
Messiah: No. 49 Recitative For Alto
Messiah: No. 50 Duet For Alto And Tenor
Messiah: No. 51 Chorus
Messiah: No. 52 Air For Soprano
Messiah: No. 53 Chorus
Messiah: Amen

Customer Reviews:

Finally a Messiah with fervor!.......2005-10-20

I've hunted a thrilling performance of The Messiah through 240 versions so far. This is the best I've found. Some are self-conscious, dutifully singing as instructed. Some are almost childish in their lilt. Some are overblown with so much bombast that you can barely hear the heart of the music. Some are concentrated on faithfulness to the original instruments. If you want a performance that will make you shiver with the power and joy of the music, this is the one. The singers are singing about GLORY. They sound as if they are ecstatic. The musicians are at one with the music and they create a virtual cathedral wherever this CD is played, just close your eyes. Or, let your own imagery, be it celestial, or of great oceans...carry you away.

Great recording!.......2003-09-22

There are so many performances of the Messiah out there that it is very difficult to point to a difinative one, but I'd put this in the catagory of the "very good" ones. As other reviewers have said, every performance is different and has its own character. Each has stronger and weaker points. Here the conductor and musicians have made good, solid musical choices. There is an amazing attention to detail which is not so obvious the first listen through but which makes the piece shine. The tempos seem to be right on, and there is no frivolous over-embellishment by the soloists. There is no attempt to be showey. The dramatic dynamics in the first section of the overture are interesting, but seem to work after you hear it a few times. This performance also includes sections which are often omitted (Second half of "He shall feed his flock," "Thou art gone up on high," "Great was the company of the preachers," and "Death where is thy sting"). I prefer the more intimate quality of a small ensemble of musicians to the mega-performances by the London Philharmonic, Vienna State Opera Orchestra, etc.. As with this performance, the smaller group lends a clarity to the music, where the larger ensembles can get a little "muddy" at times. Just my personal preference. Overall, this is a very good performance, and certainly the low price (being on the Naxos lable) makes this a clear choice.

Good and Bad.......2000-04-09

I was more interested in "The Messiah" for the religious content than as a music critic, but this was too much. The strings are tinny. The orchestra is plodding. The soloists and choir are thankfully very good and seem to understand the meaning of the words. It is a shame the sound mix is uneven. The male parts come across loud and clear, but the poor women. For instance, No. 9 Oh thou that tellest..., the soloist sounded like she was singing in an echo chamber far from the mike. This is one of the most disappointing versions of "The Messiah" I have heard in a long time.

This is a great recording!.......2000-02-11

I was really surprised with the new that the Messiah's New World premiere was held at Trinity Church in October 1770, twenty-eight years after it was written. This fact only will make one proud in having this CD among his collection.

Anyhow, this is nothing more than a historic detail and would not count if this recording had not an outstanding first-rate ensemble of singers. Without doubt there is no definitive version of Messiah. Each one has its own distinctive touch and feeling and exploring it is always a pleasant journey through imagination.

As stated by the conductor: "we must concede that performing Messiah with twenty singers and an appropriately balanced instrumental ensemble represents, at best, an imperfect comprimise", it will be easy to understand that this recording does not stand among the greatest and will probably carry some imperfections. I will mention two that kind of disppointed me a little bit. The Overture and the Chorus Worthy is the Lamb, for some reason misses the habitual vigor and strenght. Everything else is great and this is definitely a worth buying.

Average customer rating:

Old Fashioned Sincerity
One of the worst recordings ever made
Pete's Dad

Handel's Messiah

Manufacturer: Golden Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00013ND8M
Release Date: 2004-02-10

Tracks:

Overture
Comfort Ye My People
Ev'ry Valley Shall Be Exalted
And the Glory of the Lord
Thus Saith the Lord of Hosts
But Who May Abide the Day of His Coming?
And He Shall Purify the Sons of Levi
Behold a Virgin Shall Conceive
O Thou That Tellest Good Tidings to Zion
For Behold, Darkness Shall Cover the Earth
People That Walked in Darkness
For Unto Us a Child Is Born
Pastorale Symphony
There Were Shepherds Abiding in the Field
Glory to God in the Highest
Rejoice Greatly, O Daughter of Zion
Then Shall the Eyes of the Blind Be Open'd
He Shall Feed His Flock Like a Shepherd
His Yoke Is Easy, His Burden Is Light
Behold the Lamb of God

Tracks:

He Was Despised and Rejected of Men
Surely, He Hath Borne Our Griefs
And With His Stripes We Are Healed
All We Like Sheep Have Gone Astray
All They That See Him, Laugh Him to Scorn
He Trusted in God That He Would Deliver Him
Thy Rebuke Hath Broken His Heart
Behold, And See If There Be Any Sorrow
He Was Cut Off Out of the Land of the Living
But Thou Didst Not Leave His Soul in Hell
Lift Up Your Heads, O Ye Gates
How Beautiful Are the Feet of Them
Why Do the Nations So Furiously Rage
Let Us Break Their Bonds Asunder
He That Dwelleth in Heaven
Thou Shalt Break Them With a Rod of Iron
Hallelujah - London Philharmonic Chorus
I Know That My Redeemer Liveth
Since by Man Came Death - For as in Adam, Even So in Christ
Behold, I Tell You a Mystery
Trumpet Shall Sound
Worthy Is the Lamb That Was Slain
Amen

Customer Reviews:

Old Fashioned Sincerity.......2006-12-30

This is not the best recording of Messiah but it is by no means a disaster. Susskind was an able conductor with a valid view of this great piece. The recording from the 1950s is more than adequate (there is some roughness in the treble but it is full and clear - though some edits are very obvious indeed). The orchestra is excellent and the choir sing well. The soloists - all of them - are superb, among the very best in any version of Messiah! Susskind's tempos are slow by modern standards but there is good rhythmical bounce and a genuine sense of the greatness of the piece. If you can adjust to the broad tempos and the big scale conception then you will discover important aspects of this masterpiece in this performance - and the set costs next to nothing!

One of the worst recordings ever made.......2006-05-10

This is only my second one star review. And I am rather generous with stars. But this recording is just horrible, especially considering that all of the participants are legendary musicians. First of all, this is extremely old fashioned Handel. The textures are way too heavy for music of the baroque. But worst of all, the performance just sits there like mud on your tires that won't come off. Yes, the price is very low, but whatever you do, do not buy this recording.

Pete's Dad.......2005-12-11

I have had a CD of the London Philharmonic version of the Messiah conducted by Fredrick Jackson for several years and enjoyed listening to it. However, the quality of the recording leaves something to be desired.

Average customer rating:

A Flawed Candle in the Darkness
Undisciplined
Best of 2004? Could very well be. Don't go astray... Try it.
Dark, Deep, and Thick with Clouds indeed

astray
Matthew Parmenter
Manufacturer: Strung Out Records
ProductGroup: Music
Binding: Audio CD

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Push & Profit
Unfolded Like Staircase
Discipline. Live 1995
My River Flows
Fear of a Blank Planet

ASIN: B00023DA2K
Release Date: 2004-04-15

Tracks:

Now
Distracted
Dirty Mind
Another Vision
Some Fear Growing Old
Between Me and the End
Modern Times

Product Description

The 68-minute CD features all new tracks including the 21-minute song suite Modern Times. Produced and engineered by Parmenter, astray is decidedly psychedelic in atmosphere. Songs unfold into dreamlike improvisations that surround the listener. Bassist Mathew Kennedy appears throughout the CD, the sole guest musician on astray. Parmenter covers vocals and other audibles, including piano, guitar, drums, saxophone, violin, organ, synthesizers, marimba, Theremin, and Mellotron sounds.

Customer Reviews:

A Flawed Candle in the Darkness.......2006-12-20

While I was not always in the mood for it, I was a fan of Discipline's particularly dreary brand of progressive rock in the late 90's. If I was feeling a little introverted and evil, and after "The Downward Spiral" was worn out, "Unfolded Like Staircase" certainly met my needs. While not nearly as acerbic as Reznor, Parmenter's unique and passionate voice delivered a certain psychotic prog intellectualism that I was getting in touch with, and I developed a respect for his work. As a result, I chose to purchase "Astray" at the same time as Neal Morse's "One." I thought that "Astray" may act as a compelling foil to Morse's increasingly Christian (but still well-written) viewpoint. After all, both Parmenter and Morse have some interesting similarities as talented, charismatic, and possibly overbearing conceptualists (for entirely different reasons).

While "Astray" does not come close to exhibiting the compositional strength that Morse seems to just sweat, it is a decent listen. Parmenter has a knack for brooding, menacing atmospheres, and his thinly drawn line between confession and self-deprecation would most likely appeal to die-hard fans of old-school Fish-led Marillion, in the vein of "Fugazi." While Parmenter's approach may not be as poetic or aloof as Fish's, his tendency to shine a flashlight on uncomfortable aspects of himself is simultaneously disquieting and cathartic in a way that teeters on Goth.

Rather than a poet, Parmenter's approach is more that of a storyteller, which is both a boon and a bane. He takes considerable care to imbue his lyrics with a dramatic plot that climaxes effectively like a short story, but his desire to lead the listener through his lyrical ideas sometimes results in overlong and periocially muddy arrangements. There are several tunes on "Astray" that pass the seven-minute mark that probably could end at five (see "Dirty Mind"), but are extended for the sake of the text. However, the hooky nature and well-considered atmosphere of these songs make this aspect of "Astray" less irritating than it sounds, especially if you are a fan of lyrics.

Parmenter also proves to have significant talents as a multi-instrumentalist. On "Astray," if we are to believe his credits, he plays all instruments besides bass. If this is the case, a focused listen will reveal his significant facility on sax, piano, cello, drums, and guitar. However, of all of these it is the latter that is the least convincing. Sonically, "Astray" is a mere two or three steps away from early Pink Floyd and Peter Gabriel, largely due to the dark ambiance and introverted text. I can't help but think that if he had outsourced his guitar work that the tunes would open up to a higher level of instrumental intensity.

The Lowdown: "Astray" probably sounds best if you are driving alone in the rain. It's gloomy and sometimes overlong prog, but within the mire there are overtones of self-revelation. Fans of thoughtful and occasionally clever lyrics in this setting could certainly do much worse.

Undisciplined.......2006-03-21

I bought this album on the strength of "Unfold like staircase" by Discipline and the other reviews placed on this page. As you can see from my moderate 3 star rating I am not truly satisfied and feel that I should have better spent my hard earned cash elsewhere. I enjoyed the 20 minute epic at the close of the album but the rest of the content does not deliver. Why? Because the remaining tracks are overly repetative and lead nowhere. The essence of progressive music for me is the unpredicatability, with constant changes in pace and melody.

Further, Parmenter's guitar work is solid but uninspired, the choice to play every instrument himself (except bass) imposed limitations from the outset. Influenced strongly by Peter Hammill's songwriting style, M.P. should steer clear of emulating the VDGG frontman's enormous singing range. When Hammill hits the deep notes he sounds authentic but Parmenter sounds forced. Having said all that, I still look forward to any new offerings that Discipline may have in the pipeline.

Best of 2004? Could very well be. Don't go astray... Try it........2005-01-13

Many influences abound on Matthew Parmenter's first solo release. The Genesis school of theatrical music, VDGG's pain and anguish (Parmenter occassionally sounds very much like Peter Hammill) and early King Crimson's aural soundscape (heavily mellotronised) and even a glimpse or two of Jon Anderson styled lyric lines (in my head I could hear Anderson singing some of the vocals. Not timbre, mind you, more inflection). All in all, a healthy prog soup.

Except for the bass, all instruments are played by Parmenter. Drums, percussion, vocals, keyboards, violin, sax, guitar... It has such a live feel, it's hard to believe everything is totally overdubbed. Each instrument is played with finesse and the conviction one puts into being adept at only a single instrument. This guy could be a member in any band. Versatility is an understatement.

This album is a grower, each listen (about 15 for me) brings forth new elements and wonders. By the third or fouth listen, I was captured.

Vocally, Parmenter can be a chameleon. He changes styles and tones in an instant. From Hammill's melodrama to Anderson's wispy naivete to Gabriel's storytelling characters. Personally, I would be appreciative if he dropped the Hammill persona. It comes across as almost too imitative, rather than personal. I researched other sites regarding this release and some even credit Hammill as singing on this record. Believe me, Hammill''s name does not appear on the CD sleeve, nor on the MP website. Strange? I'll say. Discipline's last studio release, Unfolded Like Staircase features some Hamillesque vocals as well.

Musically, Astray doesn't get as heavy as the Discipline albums. There are many softer interludes and rarely do the tune reach any climatic cresendoes. The music lilts and flows. It will not lull you, however, it's piques your interest and carries you along. This is what progressive music should do. This is visual art for the mind. It's not always pretty, but it screams to been seen.

High points? The longest track, "Modern Times" has many movements, plenty of mellotron and some King Crimson power chording and eclectic themes. Over twenty minutes of shifting textures, martial beats, apocalyptical lyrics and a stunning guitar solo finale. "Dirty Mind" features wonderfully irreverent lyrcis and a playful piano accompaniment. "All my thoughts turn to dirty thoughts." Wickedly fun. "Distracted" gives me the Jon Anderson image. Too bad YES doesn't get this charged lyrically anymore. "Now" has a heavy Hammill vibe in the lyrics and delivery.

It's a strong disc. There is a lot to absorb and many sights to see and hear within the music. Just like the old Ragu commercials, "Try It, You'll Like IT."

Dark, Deep, and Thick with Clouds indeed.......2004-12-22

As the Amazon description reveals, Matthew Parmenter's first solo album Astray is the ultimate melting pot of dark, deep and heavily introspective songwriting. Parmenter is American underground prog band Discipline's frontman, but Discipline hasn't released any albums since 1997 if I'm not mistaken. I was rather surprised to find out Parmenter had returned with a brooding solo offering titled Astray, which proves to be a significant improvement in many ways. Not only that, but it is also a true 'solo' album in the way that Matthew Parmenter basically plays every instrument except the bass. He sings, plays the piano, guitar, drums, saxophone, violin, organ, synths, mellotron and a number of other instruments. His Discipline bandmate Matthew Kennedy accompanies him with his subtle bass lines. Parmenter recorded, mixed, produced and engineered Astral as well. The outcome is brilliant and his diversity has to be respected. From what I know, the only other artist who has played every instrument on a solo album is Dan Swano on his Moontower record (though the two musicians play quite a different style of prog).

"Now" welcomes the listener with a strangely beautiful piano melody that creeps into the song mixing with jazzy drumming. Parmenter's drum work is nothing short of brilliant. The way he plays with the cymbals and gives more emphasis on content rather than technique is nicely displayed here. His singing seems different; more mature in a way. There is a distinct Peter Hamill feel to be found but the music is more in the league of Gabriel-era Genesis. Brief guitar lines run underneath the dark atmosphere of the song with fat, pulsing bass throbs. All these overlapped instruments are blended to give the mosaic of "Now" its final character. I had to hear this track five times in a row before I could move on to the next song, and I must say it's still my favourite on the CD along with the 21-minute "Modern Times". The momentum is reduced as "Distracted" and "Dirty Mind" work their way through the clutter of the record. More jazz piano and an improvised instrumental section become the focal point of the songs displaying a varied complexity throughout the music. I am strangely reminded of another indie band, maudlin of the Well, while listening to parts of Astray. It must be the way the classical formation is amalgamated with free-style jazz. No one else may agree about this comparison though. The guitar work on "Dirty Mind" is very bluesy in context and it works impeccably.

A tired organ opens "Another Vision" with blurry drumming in the far edge of the mix. Parmenter's fragile vocals are delicately layered over the composition and all you have to do is close your eyes and be drawn by the intensity of his singing. By the time the song reaches its finale, you are fully convinced that Parmenter has certainly entered a realm of maturity. This is progressive music gone dark, without relying on the 'neo' tag as the music presented here sounds surprisingly fresh despite being 70's inspired. The protagonist in "Some Fear Growing Old" invites the listener to enter his mind for a moment to observe his inner conflicts about getting old. The opaque acoustic guitar complements the gloom leaving its place for a sad violin piece towards the end. Matthew Parmenter guested on Tiles' two albums before playing violin, but it sounds totally different here. "Between Me and the End" features keys and guitars sparkling without being uplifting. This song is blessed with a truly standout performance. Parmenter's singing becomes even more haunting here. The album closer "Modern Times" is easily the climax of the whole record. It kicks in with a slow, dragging and morose melody. Suddenly, 7 minutes into the song, the song explodes into a funk-driven post-psychedelia heavily centred on the bass guitar. Actually on each song, there is a moment where each instrument is pushed forward so it can shine through and add to the composition, but the bass is simply phenomenal. It drives the song forward, carries it, and never fails to add to the sinister mood. Parmenter continues to generate fresh ideas on the guitar with picking style on acoustic and electric respectively. There is even a brief synth solo at the end which oddly fits in nicely. The writing is cohesive, structured, but by no means forced. A very good ending to a very good record indeed. The booklet, packaging, lyrics and artwork are a great representation of the music this album contains. Every Progressive Rock fan needs to hear this.

Average customer rating:

SIMPLY STUNNING

Always Be Mine

ProductGroup: Music
Binding: Audio CD
ASIN: B000CS6VTE

Product Description

1.lovin,touchin,squeezin.2.never go astray.3.mystical love.4.sweet darlin'.5.second chance.6.lily of the valley.7.molokai moon.8.ain't no way.9.preacher man.10.always be mine.11.manuo'o.12.second chance(remix)

Customer Reviews:

SIMPLY STUNNING.......2006-03-05

I saw them live with 7 bands in Hilo, HI at the crown room. Although most of the other bands were sweet, this band was impressive beyond belief. All of there songs on the cd as well as live are extremly catchy & addictive. PLEASE MAKE SOME MORE TUNES SOON! SOOO ONO!
Aloha & Cya @ Ice Ponds.
Haole Dean

Music:

Music