Joanna [Import]

Product Description:
This Album Has Been Profiled on BBC Radio Three Late Junction and Mixing It. James Young was a Member of Faction and a Former Collaborator with Nico (Camera Obscura; Fata Morgana; Behind the Iron Curtain) and John Cale (Artificial Intelligence). 'joanna' was Produced by Henry Olsen, Ex-bass Player in Primal Scream and Occasional Musical Partner in Faction (Fata Morgana).

Tracks:

Emily
Monkey & Bear
Sawdust & Diamonds
Only Skin
Cosmia

Amazon.com

Joanna Newsom's voice--a piercing flutter that's pitched somewhere between Björk and a hand brake--is an acquired taste. But to the uninitiated, it's not nearly as impenetrable as her cosmic poetry or, for that matter, baroque music. The 24-year-old Californian harpist's second album is a five-track concept piece loosely based on its namesake, the mythological drowned city of the Bretons. We say "loosely" because she leaves plenty of room for digressions on meteoroids and birds flying into windows. While Ys was recorded by minimalist Steve Albini (Nirvana, PJ Harvey), it includes lush string arrangements by Van Dyke Parks (Brian Wilson) and the final mix was done by sonic experimentalist Jim O'Rourke (Sonic Youth, Tortoise). The result is an album that sounds unlike anything else. And despite containing spectacularly beguiling songs that stretch out past 15 minutes, every second seems to drip with magic. You certainly don't get that with Ashlee Simpson. --Aidin Vaziri

Customer Reviews:

She makes me wish I were deaf.......2007-07-14

Here voice makes me want to stab my ears with and icepick until I die. Only hardcore avant-guard indie hipsters with a penchant for un-melodic, rhythmless non-music need apply. How anyone could like this is beyond me. Calling her the American Bjork is a tremendous disservice to the Icelandic Queen. Why is there not an option for zero stars?

excellent second album.......2007-07-01

Joanna Newsom has composed the music and wrote the lyrics that are complex, unique and beautiful. She is on the most talented new artists today and I was happy to discover her music. I would warmly recommend this album, as well as her first CD, "Milk-Eyed Mender".

Self-consciously coquettish overintellectualized indie schmuck.......2007-06-29

What is it with every woman in "underground" music insisting on being cute and smart and falsely weird? (The word "underground" is in quotes because any album that costs more than $250,000 to make and tops every single best-of list of its release year cannot really be considered under the radar.) It's like they have such horrible self-image problems that they must always wear a cute outfit, play an unexpected instrument, and sing in a disaffected manner, and they are absolutely GUSHED over in the press. This is just one aspect of the Pitchforkization of music, a faux democratization of taste that results in nothing but hype and backlash--no substance, all fear, just cycle after cycle like a dog who can't tell its own tail from a stick.

[ETA: It's appallingly obvious that, based on some of the responses to this review, we have not learned the lessons that those righteous and fearless feminists and punk rockers attempted, and bless 'em, how they tried, to instill in music fans. It's also obvious that the "sexism" portrayed above extends beyond this review into current "indie" culture, in that ugly dudes with beards can score hits, but there's nary a hairy female armpit on the scene these days, and women who fall into this trap by frilling themselves up in such a self-conscious way are doing nothing to further the cause against discrimination towards women. So if someone wants to be shocked by sexism, then be shocked by something that is actually hugely, poisonously sexist and stop throwing knives at amazon.com reviews written by those who are highly irritated that "feminism" is warped to defend all sorts of horrific things.]

Now that I've gotten that rant out of the way, onto the record: I've been listening to this for several months, and I cannot figure out why Newsom is creating what she is and why people (self included) are actually listening to it.

--Does she tell compelling stories? No, not really--the language is obscured and veiled, and even then you know exactly which side she's on in her morality tales. There's nothing complex or surprising about a bear being manipulated and taken advantage of by a monkey, even in Newsom's words, and the obvious plot ending solidifies the fact that Newsom cannot and will never be able to process the moral ambiguities that most great artists--including many that she professes to admire, like Neil Young--can create. Why should I care about a bear? Even if it is an allegory, and a piss poor one at that, I think the whole song should've spared us all and jumped into the water with Ursula.

--Does she use language in interesting ways? On occasion she does, I'll give her that. I have to say that "Sawdust and Diamonds" contains one of the loveliest descriptions of a birth this side of Patti Smith's "Kimberly"--"I was all horns and thorns, sprang up fully formed, knock-kneed and upright." (Funny, though, that when I think of the term "fully formed," being knock-kneed doesn't immediately come to mind.) But the rest of the song's trite meditation on puppeteering and meandering, uselessly vague pastoral imagery render that line, which might have been a good start to something far more interesting, absolutely pointless. And that's what so much of this is. She also has a terrible thesaurus addiction, and will drop an awkward passage without even reconsidering it. You know who else, more famous than Newsom and also praised in her early career, did this? That's right, Alanis Morissette. Perhaps Newsom should stand naked in the street for her next video to make the comparison more apt, because at least Alanis lets it all lyrically hang out while Newson gives none of herself to her art.

--Does it sound good? Well, not really. I used the word "meandering" earlier, and so much of the music on this record does just that. Poor Van Dyke Parks, trying to shine a turd. The composition is so self-aware and cloying, and if there were words to listen to and actual ideas on this record they wouldn't be allowed to breathe. Perhaps it's all a smoke screen to distract from the fact that Joanna Newsom has nothing to say.

Why do I think that Newsom is fraught with naught? Yes, this is only her second album, and yes, she is young and fresh out of creative writing school, but when I hear her sing the word "desire" there's absolutely none there. It's the audio equivalent of getting up every morning and going to work in an office about which you are ambivalent and apathetic. And even the least paid, least hip cubicle grunts know what desire is, surely! Hell, Rimbaud's career as a writer was over by the time he was 24, but his throwaways had far more depth than the best Newsom can do here.

So if I don't like it so much, why am I giving this two whole stars? Because Joanna Newsom is the same age as me, has recorded two albums, and has made enough money to buy a house, which is far more than I've been able to do in an equal amount of time (though unequal opportunities were available, which could lead me to a discussion of her connections and social status/economic disparities from which I will spare you). I suppose she deserves some credit for having her finances in order, without having to resort to grunt work. And yes, I am jealous that someone who created something so insipid is now famous and wealthy. So it goes.

raw yet refined.......2007-06-23

This is my second attempt at posting a review here. The first review had the phrase "my arse" in it (using the other word for "arse") so I can only assume that's why it didn't get posted. I am appalled at some of the things said of Joanna Newsom and her album on Amazon. Some people go so far as to personally attack the artist herself for being privileged (??), for playing a harp in an attempt to be different, and for wearing "cute dresses." Hmmm...

This album holds a special place in my collection. Never have I heard such ambitious, moving, and consistently powerful lyrics on a single album. This is a difficult album to understand for many people, but I find dissecting the lyrics and researching the musician's intent much more interesting and rewarding than anything on the radio these days. As for the music itself, being no music theory major, I can only say that it consistently pulls an emotional response from me; viscerally and intellectually, I find it cathartic, stimulating, raw (no thesaurus used here, guys and girls.) Joanna Newsom certainly does a terrific job on the harp, in composition and execution, and Van Parks' complementary pieces add a certain largeness of sound to the album that matches its largeness of vision.

The vitriol I have seen against Newsom in a few of the reviews here is unnerving and worrying. I would hope that those who do not like her album will in future attempt to logically explain why without succumbing to posting hateful and sexist insults. This does nothing to inform would-be buyers of the album's strengths and weaknesses (if you think the album has any--I personally think it doesn't: it is exactly what it should be.)

Five stars all the way.

Everything you don't expect and more..........2007-06-07

This is probably one of the most creative projects I've ever heard. Newsom plays the harp and writes epic song with lush orchestrations behind them. You hear every instrument and color on this album except what you expect to hear. Newsom's harp trickles through the chords while the songs are colored by lush strings, subtle brass and even an occassional banjo or jawharp. Newsom's songs are very different from traditional pop songs. She divorces the traditional song structure and gives each song a wider arc allowing her to tell the story at hand. The lyrics are very narrative and incredibly poetic. The texts drip with imagery poetic devices that just don't get used enough in mainstream music. This album is incredibly refreshing with its innovative instrumentations, lush orchestrations, masterful songwriting, poetic lyrics and fantastic production. Even with all of this I think that anyone may find fault with one particular aspect of the record:

Joanna Newsom's voice.

I'm not going to lie, it's kind of annoying. Her vocal quality is some kind of strange combination between abrasive and whinny. Images of a pre-pubescent Bjork may come to mind. One thing that I consistently noticed was that when Newsom sang the word, "and" or other words with a similar vowel sound higher in her regester, there was a very distinctive squeek of her voice, kind of like her vocal chords decided to do just a little bit of bumping and grinding. However, as absolutely bizarre as Newsom's voice is, I think it kind of works. Granted, she sounds like a crazy old lady gathering the village children around to sing them a story, but with the style of the music and the content of the lyrics, I think it is strangely appropriate.

Whether you like her voice at all, there is no denying that this project is incredibly unique and creative. You may have noticed that this album doesn't have a great rating from the pooled average of Amazon users. This is not from a consistent pile of mediocre reviews, but polarized reviews from people who adore this album and others who hate it. Obviously, I am one of the former. This album is very hit-or-miss. I've told you what I think, but the only way to tell what you really think about this very debated album is to take a listen for yourself and be the judge of your own tastes.

Into the Woods (1987 Original Broadway Cast)

Average customer rating:

Good classic recording
Into the Woods (remastered)
Get Into Into the Woods
Great sound - thin book(let)
Sondheim's most beloved musical

Into the Woods (1987 Original Broadway Cast)
Stephen Sondheim , Bernadette Peters , and Joanna Gleason
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Into the Woods
Sunday in the Park with George (1984 Original Broadway Cast)
A Little Night Music (1973 Original Broadway Cast)
Sweeney Todd, the Demon Barber of Fleet Street (1979 Original Broadway Cast)
Company - A Musical Comedy (1970 Original Broadway Cast)

ASIN: B0009A40MA
Release Date: 2007-03-20

Tracks:

Into the Woods (Prologue) - Tom Aldredge, Paul Gemignani
Cinderella at the Grave - Kim Crosby, Paul Gemignani, Merle Louise
Hello, Little Girl - Danielle Ferland, Paul Gemignani, Robert Westenberg
I Guess This Is Goodbye/Maybe They're Magic/I Guess This Is Goodbye - Paul Gemignani, Joanna Gleason, Ben Wright, Chip Zien
I Know Things Now - Danielle Ferland, Paul Gemignani
Very Nice Prince/First Midnight/Giants in the Sky - Kim Crosby, Paul Gemignani, Joanna Gleason, Ben Wright
Agony - Paul Gemignani, Chuck Wagner, Robert Westenberg
It Takes Two - Paul Gemignani, Joanna Gleason, Chip Zien
Stay with Me - Paul Gemignani, Bernadette Peters, Pamela Winslow
On the Steps of the Palace - Kim Crosby, Paul Gemignani
Ever After - Tom Aldredge, Paul Gemignani
So Happy (Act II Prologue) - Tom Aldredge, Paul Gemignani
Agony (Reprise) - Paul Gemignani, Chuck Wagner, Robert Westenberg
Lament - Paul Gemignani, Bernadette Peters
Any Moment/Moments in the Woods - Paul Gemignani, Joanna Gleason, Robert Westenberg
Your Fault/Last Midnight - Kim Crosby, Danielle Ferland, Paul Gemignani, Bernadette Peters, Ben Wright, Chip Zien
No More - Tom Aldredge, Paul Gemignani, Chip Zien
No One Is Alone - Kim Crosby, Danielle Ferland, Paul Gemignani, Ben Wright, Chip Zien
Finale: People Will Listen - Bernadette Peters
Giants in the Sky [*] - John Cameron Mitchell, John Cameron Mitchell
Back to the Palace [*] - Kim Crosby, Kim Crosby
Boom Crunch [*] - Maureen Moore, Maureen Moore

Amazon.com essential recording

As conceived by Stephen Sondheim and cocreator James Lapine (following their Pulitzer Prize-winning Sunday in the Park with George), Into the Woods tells the intricate tale of multiple fairy-tale characters crossing paths in the woods, not merely resolving the characters' dilemmas but also exploring what happens after happily ever after. Sondheim's chamber-scale music, recipient of the 1987 Tony for Best Score, is one of his most beautiful and accessible, and is at its most poignant in "No More," "No One Is Alone," and "Children Will Listen." The original Broadway cast is outstanding top to bottom, most notably Bernadette Peters as a rapping witch and Joanna Gleason, who won a Tony for Best Actress. The CD booklet includes production photos and--so important for a Sondheim show--full lyrics. Fortunately, this cast was also captured on video and DVD. --David Horiuchi

Album Description

A Classic Stephen Sondheim Musical Available Now at a New Low Price!

Featuresbonus tracks, digitally remastered and new liner notes.

Customer Reviews:

Good classic recording.......2007-06-16

Well worth the money for Bernadette Peters's performance as the Witch. However, not all the minor characters are as good, and I feel the London Cast is a more rounded recording in terms of quality. I feel that all the available cast recordings for Into The Woods are lacking in some way or another, but it is a hard show to do, so it is understandable.

Into the Woods (remastered).......2007-05-12

I first seen this musical on a local television station that was doing a pledge drive. I instantly fell in love with it. I think for one reason was cause i love fairy tales. and combining all our favorite fairy tales into one story was a awesome idea. I wrote the station asking them once a month when they were goign to re-air the program. they told me they might re-air it one day when it fit into their schedual. I can see/hear why Joanna Gleason won a Tony for her performance and it was amazing. I love all the songs on this CD but my favorites are as followed:

I Guess this is Goodbye/Maybe They're magic
I Know Things Now
It Takes Two
Stay with Me
On the Steps of the Palace
Lament
Any Moment/Moments in the Woods*
Your Fault/Last Midnight*
No one is Alone
Children will Listen
(* means Favorite)

I love all these songs for diffrent reason.

the Bonus tracks are very kewl. I love Kim Crosby's (the Original and only Cinderella for me) vocals on Back to the Palace. It is like she never left the character and the emotion is there. Boom crunch is my favorite of the bous tracks cause it is something i have always wanted to hear since i found out it was cut from the show.

Get Into Into the Woods .......2007-04-06

This CD was my trial for the greatcomposer Stephen Sondheim. I had wanted to know his style before I went to see his movie, Sweeny Todd, (Starring Johnny Depp and Directed By Tim Burton). I had heard that this was a great buy. I gritted my teath and bought it. I knew that people said he had a different style, but I had no idea was lying instore.

AMAZING! It was absolutely stunning! I loved the CD. It was beautiful. My Mom has not developed a liking to it, and it is very sharped and flatted (Like on a piano)But beautiful. I compare it to the wonderful musical Dreamgirls, because you love it or hate it. Just as in the way that HEnry reiger used the voices to sing and not so much music; Stephen does the same thing. Like in GIANTS IN THE SKY the actopr sings one note and the piano plays a flatted or sharped version. Ity is wonderful. The Best songs are:
PROLOGUE INTO THE WOODS
EVER AFTER
HELLO LITTLE GIRL
I KNOW THING NOW
GIANTS IN THE SKY
ACT 2 PROLOGUE
YOUR FAULT
FINALE PEOPLE WILL LISTEN
BONUS TRACKS!
GIANTS IN THE SKY

BUY THIS CD! WONDERFUL AND AMAZING!!!! BEtter than the LION KING

Great sound - thin book(let).......2007-04-01

This remaster sounds wonderful. The booklet should include the lyrics and the liner notes are just poor - uninformative and fawning. However the bonus tracks are terrific, alternate lyrics for a children's version and one cut by John Cameron Mitchell before he bloomed into Hedwig (here he's Jack).

Sondheim's most beloved musical.......2007-03-31

Of all Stephen Sondheim's musicals, INTO THE WOODS is certainly his most popular and beloved work. During it's 1987 premiere, the show introduced a whole new generation to the magic of Broadway. The original cast is still definitive, and the cast album is one of the all-time classics.

The story weaves together the familiar childhood characters Cinderella, Jack (of Beanstalk fame), Little Red Ridinghood, and Rapunzel; and explores their stories beyond the "Happily Ever After" ending. Whilst Act One is full of delights and pretty much tells the stories as we remember them, Act Two presents a darker and harrowing portrait as the characters, without the help of the Narrator, attempt to rid the kingdom of a Giant on the warpath...

The original cast is still definitive, headed by Joanna Gleason (in a Tony-winning performance) as the Baker's Wife. Her character holds the entire story together, and she reaches a heartbreaking climax with "Moments in the Woods", one of the most beautiful, tenderly-comical songs ever written for a musical. Bernadette Peters plays the Witch, who magically transforms from ugliness to beauty at the end of Act One. Peters brings a lot of gleeful comedy and schtick to the role, particularly in the "Witch's Rap", but also tugs at the heart during the "Lament"; and she gets to belt a frenzied 11 o'clock number, "Last Midnight".

The supporting cast is equally first-rate, with Kim Crosby's crystalline soprano perfectly suited to the high-flown and beautifully-drawn Cinderella; Ben Wright as Jack; and Danielle Ferland's feisty and funny Little Red Ridinghood. Chip Zien brings a lot of depth and feeling to the role of the Baker, and Robert Westenberg skillfully handles the dual roles of Cinderella's Prince and the Wolf.

This is probably Sondheim's most accessible score, but it's a deceptively-difficult one. The music is presented in a chamber-style, with emphasis on piano and strings. The entire score as a whole is fabulous, but highlights would have to include "On the Steps of the Palace", where Cinderella contemplates meeting her Prince again; "Giants in the Sky" where Jack reveals his adventures with the beanstalk; and "No More", where the Baker and his estranged father unite in their grief.

This reissue of the 1987 Original Broadway Cast has been crisply-remastered with three bonus demo songs, from a proposed children's version of the musical ("Back to the Palace", "Boom Crunch", and a re-written "Giants in the Sky").

INTO THE WOODS opened on Broadway at the Martin Beck Theatre on November 5, 1987, and ran for 765 performances.

[Sony/BMG 82876-68636-2]

Average customer rating:

If you've gotten this far....well. Get it. 4.5 stars
Wow
The perfect voice for this unique music
Lisa Simpson called...
Strange, Unnatural, Probably Wrong...

The Milk-Eyed Mender
Joanna Newsom
Manufacturer: Drag City
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Ys
Sprout and the Bean
Rejoicing in the Hands
Let It Die
The Crane Wife

ASIN: B0001KL526
Release Date: 2004-03-23

Tracks:

Bridges And Baloons
Sprout And The Bean
The Book Of Right-On
Sadie
Inflammatory Writ
This Side Of The Blue
'En Gallop'
Cassiopeia
Peach, Plum, Pear
Swansea
Three Little Babes
Clam, Crab, Cockle, Cowrie

Album Description

Debut album from Californian-born singer songwriter Joanna Newsom. A former member of San Francisco's The Pleased, Newsom's first solo release effortlessly blends the genres of folk and pop. The single 'Sprout And The Bean' is included.

Customer Reviews:

If you've gotten this far....well. Get it. 4.5 stars.......2007-04-20

If you've gotten this far....well go ahead and get it. Apparently you weren't looking for Metallica or Ashley Simpson and wound up here by mistake.

Took me a little while to get into, you probably know what your in for. All in all pretty good, not a daily listen to'er. But great every once in a while, can't really think of any real low points.

>>>---Zen--->

Wow.......2007-03-26

I haven't had as strongly and immediately positive a reaction to an artist in years as I did when I heard some tracks from Joanna Newsom. I thought the only time I would fall so quickly for a quirky artist who can't sing would be that time I first heard Tom Waits playing at a record store years ago, but Newsom's incredibly catchy harp melodies, her unconventional lyrics, and her squeaky-hinge voice combined into something that absolutely knocked me over at first listen. I waited impatiently by the mailbox until I got this CD, with the tunes of singles "Bridges and Balloons" and "The Sprout and the Bean" running almost constantly through my head.

Once I got this album, I found to my relief that Newsom's work is consistent throughout and that it held my attention through repeated listens. Newsom's off-tune, off-kilter voice wears far better than one might expect and her tunes are pop-like in the way they hook themselves into the brain like Velcro. Her lyrics are a double-edged sword on repeat listens in that there is a lot of depth to them - they are more poetry than traditional pop lyric - but some verses (a remarkable minority, actually) are art-student twee.

The good in this album far, far outweighs the occasional pretension in the lyrics. I'm over the moon about Newsom and I listen to this album over and over. I imagine it is true, as other commentators have noted, that Newsom's singing voice, if you can really call it that, could be a stumbling block for many listeners. It usually is for me. But in my opinion, Newsom makes it work.

The perfect voice for this unique music.......2007-03-17

My god, I'm sorry to disagree with most of the reviewers here but the first thing that impressed me was her voice and melodies. Her Voice is so unique and beautiful that they take me to the world she's describing and as I read somewhere she is so much more interesting than most of the indie bands out there, maybe is because her music is not your usual college rock type, it is really PROGRESSIVE FOLK, a long forgotten term.

Whatever, if you like "music" then go ahead and buy it. Maybe you'll love it the first time you hear her voice or maybe the melodies will strike you after a couple of spins.

Lisa Simpson called..........2007-03-05

...she wants her voice back. This is an either/or album. If you can get past/ like the vocals then this is a great album, if not then it is like listening to somebody strangling cats. I have a bunch of friends/ relatives who by and large listen to great music that absolutely love this album and can't stop praising it; again, I just can't get past the vocals. Listen carefully and repeatedly if you are uncertain. Good luck.

Strange, Unnatural, Probably Wrong..........2007-02-06

..but certainly interesting. Newsom plays harp, sings like what NPR essayist Sarah Vowell would sound like if she took up music, and writes strange curiosities that don't sound like anybody else. She also tends to dress like she's Amish--don't know what that's about really, but no matter. All in all it's an undeniably potent concoction; a formula which will either delight you, or take you to hell and drop you off there, depending on how straight you like things. If you've been all heavy into the "klezmer gulag gypsy folk punk orkestra" groups that seem to be everywhere lately, Milk-Eyed Mender may be able to find a home in your CD collection. (Not that it sounds like any of those, but the gestalt is the same). Be warned, if you live in a red state, the purchasing of a Newsom album may mark you as an open-minded counter-cultural type.

Dirty Rotten Scoundrels (2005 Original Broadway Cast)

Average customer rating:

Dirty Rotten Scoundrels
DULL DULL DULL
Such an awesome musical, but it wasn't the cast I saw, but a great soundtrack!
Good old dirty rotten fun
Catchy and Entertaining !

Dirty Rotten Scoundrels (2005 Original Broadway Cast)
David Yazbek , John Lithgow , Norbert Leo Butz , and Sherie Renee Scott
Manufacturer: Ghostlight Records
ProductGroup: Music
Binding: Audio CD

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

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Monty Python's Spamalot (2005 Original Broadway Cast)
The 25th Annual Putnam County Spelling Bee (2005 Original Broadway Cast)
The Light in the Piazza (2005 Original Broadway Cast)
The Drowsy Chaperone (2006 Original Broadway Cast)
Little Women The Musical (2005 Original Broadway Cast)

ASIN: B000929AB4
Release Date: 2005-05-10

Tracks:

Overture
Give Them What They Want
What Was A Woman To Do
Great Big Stuff
Chimp In A Suit
Oklahoma?
All About Ruprecht
Here I Am
Nothing Is Too Wonderful To Be True
The Miracle
Ruffhousin' Mit Shuffhausen
Like Zis/Like Zat
The More We Dance
Love My Legs
Love Sneaks In
Son of Great Big Stuff
A Message From John Lithgow
The Reckoning
Dirty Rotten Number
Finale
Here I Am (Demo)
All About Ruprecht (Demo)
Nothing Is Too Wonderful To Be True

Amazon.com

With this giddily entertaining show, David Yazbek confirms that The Full Monty wasn't a fluke--few on Broadway can equal his melodic verve and lyrical cleverness. Based on the 1988 movie of the same name, the show deals with a pair of con artists swindling rich women on the French Riviera. Lithgow brings debonair charm to the Michael Caine part, while Norbert Leo Butz (Wicked) proves to be a comic dynamo in the Steve Martin part. And Yazbek provides them with an array of catchy tunes (adorned in beautiful Bacharach-style arrangements by Harold Wheeler). Butz goes ballistic on the hilarious "Great Big Stuff," which demolishes conspicuous consumption, then pairs up with feisty leading lady Sherie Rene Scott on "Love Is My Legs," a wicked sendup of Celine Dionstyle torch epics. Meanwhile, Lightgow nails the tender ballad "Love Sneaks In." A delicious jazz reprise of "Nothing Is Too Wonderful to Be True" by Scott and pianist Bill Charlap shows that Yazbek's songs don't need flashy pizzazz to be memorable. --Elisabeth Vincentelli

Other Great Musicals of the Season

Spamalot
The 25th Annual Putnam County Spelling Bee
The Light in the Piazza

Little Women
All Shook Up
Altar Boyz

Customer Reviews:

Dirty Rotten Scoundrels.......2007-01-03

Norbert Leo Butz is absolutely amazing once again and once again Sheree Renee Scott is a usual disappointment. But one of the bonus tracks she actually sounds alright.

DULL DULL DULL.......2006-07-24

I haven't seen the show, but I certainly hope it works better on stage with visuals than it does listening to this tepid CD. Not a memorable note of music in the entire score.

Such an awesome musical, but it wasn't the cast I saw, but a great soundtrack!.......2006-06-13

I loved this musical when I went to see it in late March of 2006. It's based off the movie with Steve Martin and Michael Kain.

I think EVERYONE in this original cast is PERFECTLY suited for their part. John Lithgow does a great job at being the haughty, elegant, charming and educated British con man. Norbert Leo Butz will make you laugh your a** off with his crass humor, and he just brings it ALL out in "Great Big Stuff" singing about how he wants to be rich! Sherie Rene Scott is a fantastic Broadway singer, and she's perfect as the sweet, innocent, ditzy American blonde (or is she? hmmm?) While she acts ditzy, her voice is big, telling everyone "Here I Am," making everyone so happy. Joanne Gleason really kicks it with her snooty little role as a rich American woman who, while a bit uneducated, gives each song an attitude! Gregory Jbara is a perfect, snooty Frenchman, always looking out for master Lawrence Jameson (John Lithgow).

Great musical. If you've seen the movie, see the musical, then buy the soundtrack.

Good old dirty rotten fun.......2006-04-29

At first, I borrowed this from the library because I love Norbert Leo Butz. He was very good in Wicked, but the part of Freddy Benson seems made for him. I can't wait to see the show; the entire cast is amazing. Some of my favorite tracks:
-Great Big Stuff
-All About Ruprecht
-Here I Am
-Ruffhousin' mit Shuffhausen
-The More We Dance
-Love is my Legs
-Dirty Rotten Number

All three of the leads are completely at ease in their parts, even though John Lithgow and Sherie Rene Scott have since moved on. If you like good old-fashioned comedy, this is a show for you!

Catchy and Entertaining !.......2006-04-15

Perhaps not one of the great musicals of all time, I have to say that none-the-less this is one darn nifty show... held together by its stylish sets, stylishly catchy tunes, melodies and orchestrations, a "deserves to be a standard" love ballad, and over the top Blake Edward's type physical comedy. - - The only thing that holds it back is the book which seems to lack consistency at times and took until the second act to pick up. Further, I don't think the final plot twist was foreshadowed enough to be believable. But all of this put aside, I'd say this is definitely one fun cast recording - - and I'd even consider seeing it again (though I hope if it were to ever be revived, the play would be cleaned up a bit in order to make the musical more effective overall.)

One big disappointment... The play-out music is not included on the cast recording, but when you see the musical the brass is really wailing out on it !

Average customer rating:

Good classic recording
Into the Woods (remastered)
Get Into Into the Woods
Great sound - thin book(let)
Sondheim's most beloved musical

Into the Woods (1987 Original Broadway Cast)
Stephen Sondheim , Bernadette Peters , Joanna Gleason , Tom Aldredge , and Chip Zien
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Into the Woods
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ASIN: B000002WAB
Release Date: 1990-10-25

Tracks:

Prologue
Cinderella At The Grave
Hello, Little Girl
I Guess This Is Goodbye; Maybe They're Magic
I Know Things Now
A Very Nice Prince; First Midnight; Giants In The Sky
Agony
It Takes Two
Stay With Me
On The Steps Of The Palace
Ever After
Act II Prologue
Agony
Lament
Any Moment; Moments In The Woods
Your Fault; Last Midnight
No More
No One Is Alone
Finale

Amazon.com essential recording

Album Description

A Classic Stephen Sondheim Musical Available Now at a New Low Price!

Featuresbonus tracks, digitally remastered and new liner notes.

Customer Reviews:

Good classic recording.......2007-06-16

Into the Woods (remastered).......2007-05-12

Get Into Into the Woods .......2007-04-06

Great sound - thin book(let).......2007-04-01

Sondheim's most beloved musical.......2007-03-31

The Witches of Eastwick (Original 2000 London Cast)

Average customer rating:

A Bewitching Cast Recording
Well Worth Exploring
Casts a spell over all...
Almost perfect!
Spellbound? I doubt it...

The Witches of Eastwick (Original 2000 London Cast)
Dana P. Rowe , John Dempsey , Lucie Arnaz , Maria Friedman , and Joanna Riding
Manufacturer: First Night Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004Y35W
Release Date: 2002-01-01

Tracks:

Overture
Eastwick Knows
Make Him Mine
I Love A Little Town
Eye Of The Beholder
Waiting For The Music To Begin
Words, Words, Words
Dirty Laundry
I Wish I May
Another Night At Darryl's
Something
Dance With The Devil
Evil
Loose Ends
Who's The Man?
The Wedding
Something (Reprise)
Look At Me

Album Description

Soundtrack to the hit musical adapted from the book and film of the same name. Starring Lucie Arnaz. 18 tracks including, 'Eastwick Knows', 'Dirty Laundry' and 'Dance With The Devil'. 2000 release. Standard jewel case.

Customer Reviews:

A Bewitching Cast Recording.......2007-04-27

I love original cast recordings. They capture the flavor of any show. The one thing that bothers me of this cast recording is the show never made it to Broadway. And the cast and the music sparkles

Ian (Deadwood, Lovejoy) McShane as Daryl van Horne (the Jack Nicholson role in the movie). McShane strolls thru the music with his bass voice as Rex Harrison or Peter O'Toole may have done. The witch trio is played by Joanna Riding, Maria Freedman and Lucie Arnaz (yes Lucille Ball's Daughter). All together mesh this music with the emsemble numbers.

John Demsey and Dana Rowe's Lyrics & Music are tongue and cheek, not know if this a tribute to other broadway styling or an original try.

On the whole, I wish someone would put this on Broadway NOW-it is witty and funny..and since the Producers is closing on Broadway, its time! Cameron Mackintosh's last musical Mary Poppins flopped-this may be a shot in the arm. And McShane has finished with Deadwood--Its Time!

Get this soundtrack NOW--so when someone smart brings this back, he know the music and will love to watch this on stage--ITS TIME for this BEWITCHING Musical to reappear on stage!

Bennet Pomerantz AUDIOWORLD

Well Worth Exploring.......2005-11-28

I saw this show in both its original and revised incarnations. Strong score, weak book.

This recording is a must for musical theatre performers -There's some great, underused audition material here. Buy the CD, and then get the vocal selections (still in print). Break a leg!

Casts a spell over all..........2004-10-05

This recording is one of those that you listen to and smile throughout. The leading ladies all have such amazing presence, it makes you want to join them in their songs. I would say the best song on this recording is Evil, sung by the character Felicia Gabriel; such witty lyrics and a tune, worth purchasing the recording in and of itself. BUY IT!!!!!!!!!!!!! I assure you it will not let you down!

Almost perfect!.......2004-01-16

This Score's just awsome! I haven't seen the show yet, but it seems to be as funny and as bewitching as this Soundtrack. Perfect Singers, a Mix of many great Music Styles!
OUVERTURE: Great Orchestra Track - Standard Overture, but very nice.
EASTWICK KNOWS: A classical Opener with a very beatyful "Preprise" of LOOK AT ME and a heavenly ending.
MAKE HIM MINE: Some kind of Softrockballad with perfect musical arrangements and three very well singing leading ladies.
I LOVE A LITTLE TOWN: Nice Melody, funny little piece - but it doesn't really make the Story go on.
EYE OF THE BEHOLDER: Some kind of sweet, quiet Tango, filled with Passion.
WAITING FOR THE MUSIC: As passioned as EYE OF THE BEHOLDER. It's played only by Violins. Very nice.
WORDS,WORDS,WORDS: At the Beginning it's just boring, but the End of this Song makes it worth hearing.
DIRTY LAUNDRY: Very nice and funny, some kind of 60's Jazz Music?
I WISH I MAY: Again the three leading ladies do their best. The slowly beginning and headblasting ending 1. Act Finale.
ANOTHER NIGHT AT DARRYL'S: Super!!! Great Jazz/Swing-Theme with a sexy singer, a real Showstopper!
SOMETHING: A Classical love duet. Funny to hear something like that in a Musical!
DANCE WITH THE DEVIL: Wow!!!!!
EVIL: Another great Swingin' Song. But I don't like his slow beginning.
LOOSE ENDS: Don't like it that much, it's too boring. But it's got a nice Melody!
WHO's THE MAN: Great Swing/Jazz again!!! And the lyrics are awsome!
THE WEDDING: Not the best musical Number. But it's needed for telling the story.
SOMETHING REPRISE: The only Reprise on this CD. I'd like to have a few more....
LOOK AT ME: The three ladies at their best! An astounding Mix of LOOK AT ME and MAKE HIM MINE - a good Finale for this CD - but not the real Finale of the Piece...
Everybody who loves Musicals ... no, everybody should buy this CD, everybody. Buy it!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Spellbound? I doubt it..........2003-11-29

In the parade of really average new musicals (interestingly produced in both the United Kingdom and Australia by Cameron Mackintosh) this one is not much chop either. An ambiguous, boring score by Dana P. Rowe makes a weak story...well...weaker. The jokes are high standard musical comedy (you'll be falling asleep by the end of the overture...which happens to be the most spectacular moment in the production). The production elements once again save this disastrous combination of boring melodic constructs and catastrophic lyrical "undertones". The three most uninspiring roles for women in late twentieth century music theatre are here to be beheld in this chaotic, messy, technical jumble. We know where Mackintosh's millions go when the three leading women rise from a complex tangle of metal cable above the audience, hovering stupidly while they settle into their harnesses.

In the professional Australian production (Princess Theatre 2002, Melbourne) leading lady Marina Prior (Phantom of the Opera, Les Miserables, Noises Off, Secret Garden, The Pirates of Penzance etc...) was cast in one of the lead female roles, to much disappointment as the music was so hideous. Famed Australian theatre and film performer Geraldine Turner was cast as the mid-American conservative Felicia Gabriel, which saved the show.

The early demise of Cameron Mackintosh's "The Witches of Eastwick" in Melbourne signalled the closure of a sad chapter in musical comedy history.

Tracks:

Colleen
Clam, Crab, Cockle, Cowrie
Cosmia

Customer Reviews:

Stunning.......2007-07-06

I cried the first time I listened to this version of "Clam, Crab, Cockle, Cowrie." I feel so lucky for the opportunity to listen to Joanna's voice get better and better and better through the years. The way she sings the line in this song, "And I am watching you/ And you are starry, starry, starry..." has always gotten to me, and with her improved vocal abilities here she manages to add a new degree of touching nuance to this favorite of moments. Give it a listen, I think you'll see what I mean.

I tend to not enjoy micro-reviewing records song by song, so I think I will leave it at that. This is for Joanna both a return to a more stripped down musical presentation and a leap forward in her development as a singer. This EP makes me so happy.

Great companion to the "YS" album.......2007-07-05

Joanna Newsome is not for everyone, that's for sure, basically Joanna singing with harp, and sparse other instruments. Her 2006 "YS" album created quite a stir, though. (It was my 17 yr. daughter who introduced me to her, incidentally). This live EP was recorded on the YS Fall 06 tour.

"EP" (3 tracks, 24 min.) brings a new song, "Colleen", which is pretty much in the vein of the "YS" album. Next is "Clam, Crab, Cockle, Cowrie", from "The Milk-Eyed Mender" album, in a slightly altered version from the album. Then comes a 13 min. blow-out version of "Cosmia", from the "YS" album, which here live sounds much more invigerated than the album version, and I can't stop playing it.

If you are familiar with Joanna Newsome, this is a great companion to the "YS" album. If you are new, this is the prefect introduction to her sound, and I highly recommed checking it out for those of you. No, it's not mainstream, far from it, but this is great music by all accounts.

lovely, deceptively simple.........2007-06-12

for me, this new ep makes up for the pretensions of the Ys album; the band is amazing, and newsom has never sounder better.

i hope this bodes well for the future, for one of my favorite artists.

Addictive Beware!.......2007-05-23

It took me almost 2 years to warm up to her first album MIlk Eyed Mender. My brother in law would play it over and over again when we went to visit. Then after one of our visits I couldn't shake the songs from my head and I had to hear them! I was hooked! This ep is also addictive! Newsom's songs have an optimistic and other worldly elegance that is missing in mainstream music culture. These songs are especially endearing, ( is it the band accompaniment?) and I especially love the mix of melodies pointing to a more ethnic sound in some of the songs. A mixing of sounds, it's fantastic.

I Wouldn't Get Too Excited About This.......2007-04-25

The new song, "Colleen," is, lyric-wise, alarmingly close to boilerplate dorm-room Tori Amosity. (The only Joanna-ish touch is that the song's awakening-to-her-oppression heroine seems to be a were-whale.)

Both "Milk-Eyed Mender" and "Ys" have a muscularity to the playing and singing that's absent here--the arrangements (performed with a small acoustic combo) are much more noodly, and Joanna sings in a more "controlled" (i.e, less yelpy) manner.

For me this EP lacks the loopy imagination and expansiveness of her previous two records. I hope the relatively-lackluster songs here don't represent the shape her future work will take.

Average customer rating:

Mega-cutie who gives teen-pop a refreshing if not groundbreaking contribution
Great singer.
So much potential, such little leeway
Needs to find her niche; potential is strong though
Great voice, Great lyrics

This Crazy Life
Joanna
Manufacturer: Geffen Records
ProductGroup: Music
Binding: Audio CD

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Ladyland

ASIN: B000GPI1GY
Release Date: 2006-08-15

Tracks:

Let It Slide
Ultraviolet
Broken
Screaming Infidelities
4th Of July
Tip Toe
Drifter
This Crazy Life
Just When You're Leaving
Let Go
Your Obsession
Miracle

Customer Reviews:

Mega-cutie who gives teen-pop a refreshing if not groundbreaking contribution.......2007-04-25

A pop-rocker in the mold of Kelly Clarkson, Joanna (born Joanna Pacitti on 10-6-84) is a capable singer who gives her best on every song. There is no formula here that hasn't been perfected before, but at least her music isn't the overbearing schmaltz that seems to be the trademark of many of today's singers.

Great singer........2006-12-09

At age 11, this girl (Joanna Pacitti) starred in the 20th Anniversary national tour of the broadway musical, Annie, but was fired and replaced by 8 year old Brittny Kissinger, just prior to opening on Broadway. There was a big 20/20 special about it. Anyway, I've been following her every since (it was 1997), just waiting for her to finally get a break. She's a great singer, and I can't wait to buy this album! I've listened to clips on itunes, and it sounds great, this is why I've given it a 5, though I don't own it yet.

So much potential, such little leeway.......2006-11-17

Joanna's voice is so far above all of the other pop singers out there. However, I feel like many of her songs have a bubble-gum undertone to them which is a shame with all of the potential she has as a ballad singer. Her voice is so powerful and fervent, and to see her perform live just further proves her talent as a singer. She literally stopped shoppers in their tracks when she performed over the summer at Roosevelt Field Mall in NY for an autism benifit.

My only complaint that I have with Joanna's debut album is that I feel it is not truly her own. Which seems to be evident with about 99% of the teen pop idols who sign their lives over to a record label. They lose the ability to think for themselves. To write songs they would want to listen to. To be who they are.

On a positive note, her piano solo titled "4th of July" truly encompasses her raw talent. Just slightly cheesy, but just wait until you're half-way through the song, and I guarantee it will bring a tear to your eye. And the more popular release "Let It Slide" while it is a typical pop release, it is still a very catchy song.

Also, some light should be shed on the lyrics in the songs that Joanna wrote herself. She writes with so much experience in life, that it is a wonder she is only 19 years old. A true songwriter is equally as impressive as a strong vocalist, and Joanna has successfully done both on this cd.

As for as the production goes, I wish I could say Joanna's album is edgy, something new to add to the pop world, a breakthrough, but then I would be lying. Perhaps it can serve only as a staple for her career, and what is to come. I am definitely curious to hear what she will release next, as her voice is that addicting.

I give this album 4 stars, simply because a voice like hers deserves ample recognition.

Needs to find her niche; potential is strong though.......2006-10-12

This, along with Katie Melua's "Piece by Piece", KT Tunstall's "Eye to the Telescope", & Corinne Baily Rae's self-titled debut were chances I took this year musically. The three records I mentioned were beyond what I expected, delivering the goods. Though to be fair, I had never heard or seen Joanna before, though I was intrigued by the album art. And $9.99 Best Buy price tag.

To be blunt, this album was little disappointing. While, KT, Corinne, & Katie delivered amazing debuts, it seems all I could manage from Joanna was the hint of the potential she clearly has.

Her voice is beautiful & manages to come across rather convincingly on specific cuts (like "Let it Slide", one of the better cuts). Though, as I say...a voice isn't always the key to success. There needs to be a blend of lyricism, voice, & image. Joanna is lost in a Nick Lachey/P!nk/Kelly Clarkson sound. All guitars & lost love angst, & it doesn't go anywhere.

Though there are some highlights: "Utraviolet" is melodious & poppy, while the previously mentioned "Let it Slide" is utterly moody, the John Mayer-rock/funk/pop-clone workout "Tip Toe" works quite nicely.

Overall, not a bad album, but it could've been better. They say not to judge books by their cover, CD's should count as well. Joanna's got the voice & look, let's see if she can find a sound more individual & suited to her.

Great voice, Great lyrics.......2006-09-24

I think she has alot to give. The lyrics are great, and her amazing voice..incredible. Worth to listen to.

Vivaldi: The Four Seasons/Fritz Kreisler: Concerto for Violin

Average customer rating:

THE Best 4 Seasons I've Heard
Inspirational Recording
A great piece of work
Juicy, sumptuous and especially Dramatic
Reply to Nutmegger

Vivaldi: The Four Seasons/Fritz Kreisler: Concerto for Violin
Joanna Jenner , Ping-How Liang , Melissa Meell , Adela Pena , and Todd Phillips
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GME
Release Date: 1995-02-07

Tracks:

The 4 Seasons: Spring - Concerto In E Major, Op.8, No.1, RV 269: 1. Allegro
The 4 Seasons: Spring - Concerto In E Major, Op.8, No.1, RV 269: 2. Largo e pianissimo sempre
The 4 Seasons: Spring - Concerto In E Major, Op.8, No.1, RV 269: 3. Danza pastorale: Allegro
The 4 Seasons: Summer - Concerto In G Minor, Op.8, No.2, RV 315: 1. Allegro non molto
The 4 Seasons: Summer - Concerto In G Minor, Op.8, No.2, RV 315: 2. Adagio - Presto
The 4 Seasons: Summer - Concerto In G Minor, Op.8, No.2, RV 315: 3. Presto
The 4 Seasons: Autumn - Concerto In F Major, Op.8, No.3 Rv 293: 1. Allegro
The 4 Seasons: Autumn - Concerto In F Major, Op.8, No.3 Rv 293: 2. Adagio molto
The 4 Seasons: Autumn - Concerto In F Major, Op.8, No.3 Rv 293: 3. Allegro
The 4 Seasons: Winter - Concerto In F Minor, Op.8, No.4, RV 297: 1. Allegro non molto
The 4 Seasons: Winter - Concerto In F Minor, Op.8, No.4, RV 297: 2. Largo
The 4 Seasons: Winter - Concerto In F Minor, Op.8, No.4, RV 297: 3. Allegro
Concerto For Violin: Allegro moderato e maestoso
Concerto For Violin: Andante doloroso
Concerto For Violin: Allegro assai

Customer Reviews:

THE Best 4 Seasons I've Heard.......2007-07-15

This is beautiful from start to finish. The vitality and color really captures the spirit of Vivaldi/Four Seasons.

Often, I just go "WHOA" at music that speaks to me, which I've done on practically every single track here.

Inspirational Recording.......2007-07-14

Like many others, I have loved the Four Seasons so much over time, that I've played it to death. It had become so farmiliar that it was actually somewhat irritating. Listening to this recording changed all that for me. To use a tired phrase, it was like hearing the piece for the first time. The performance is precise, yet passionate. The orchestration may be considered by some to be a little thin, but that is made up for by the exillerating clarity. Finally, the technical quality of this recording is extraudinary. One more tired phrase, if you'll permit me, it's like sitting front row center at a live performance. Buy it! You'll love it!!

A great piece of work.......2006-05-24

I don't pretend to understand all the nuances of classical music. But as a listener I really enjoy it. That said, this piece by Gil is a fantastic piece. I have heard several other "Four Season" recordings, and since I have listened to this one, there are no equals (to me anyway).

Juicy, sumptuous and especially Dramatic.......2006-04-29

Of the myriad of modern-instrument Vivaldi Seasons recordings available, this Gil Shaham recording is just about as good as it gets. Perhaps it eclipses previous recordings by Nigel Kennedy and the Decca recording with Marriner. Shaham scores points over all his modern-instrument rivals with a true spirit of collaboration with the Orpheus Chamber Orchestra, as if their playing were taking them on a voyage into Vivaldi's picturesque world. Their playing is always fresh-sounding, youthful, alert and spontaneous, and rhythms are well-sprung.

Throughout this performance, we hear how Shaham and Orpheus give their all in bringing out the very best in Vivaldi's score. The spirit that pervades the whole performances beguiles us from the first, positive bars of the Spring concerto, where we can truly feel the embrace of Spring's awakening. Summer is given a suitably dramatic performance, and one can feel the Orpheus players revelling in the ferocity of the summer storm that ravages the land, complete with Shaham's poignant commentaries, especially when portraying the hapless shepherd farmer who loses his corn to the summer storm. Autumn has a suitably rustic atmosphere, with Shaham doing double-duty as tipsy drunkard and fleeing beast during the fiercely vigorous hunting finale. And Winter allows us to feel the true contrasts, with Shaham's technical brilliance in the outer movements contrasting with the sheer lyricism of the slow movement, while the Orpheus playwers ably evoke the cold, bleak atmosphere of the sonnet. The DG recording is clear and beautifully balanced, and the Kreisler concerto makes an unusual and controversial fill-up, together with the bonus CD-Rom of the Winter video. Yet I would have liked there to be the bonus CD of Shaham talking about the music and introducing each concerto, as it would have been more illuminating.

All told, this superb CD should stand as a fresh, artistic success of a modern-instrument Vivaldi Seasons, due to the performers' ability to engage themselves with Vivaldi's soundworld. There is always rhythmic control and you feel that the sense of structure is there. Perhaps this should be the modern-instrument equivalent of Trevor Pinnock's equally celebrated version...

Reply to Nutmegger.......2005-10-14

I've listened to this cd many times, and have enjoyed each time more and more. I also listened while reading the score, and I have to point out that Gil has actually ad libbed a LOT in this recording. To me, it sounds like he was attempting to add a bit of romanticism to an early classical concerto. Some may think that's sacriledge, but I myself think it's a clear indication of the man's ingeniuity and sheer mastery of what you consider 'too much perfection'. I'm sorry, but that seems a bit absurd to me. I've heard people complain about Karajan's interpretations as being too beautiful, but never about someone being too perfect. Honestly, I think your initial reaction was right on. I encourage you to re-examine....hopefully, not while you're doing laundry. :-)

Leonin, Perotin: Sacred Music from Notre-Dame Cathedral

Average customer rating:

Nice
A Resounding Success
A Voice Feast from the Middle Ages

Leonin, Perotin: Sacred Music from Notre-Dame Cathedral

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009SQC8W
Release Date: 2005-07-19

Tracks:

Beata Viscera
Viderunt Omnes
Viderunt Omnes
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Organum) ... Notum Fecit ...
... Dominus ...
... Salutare Suum Ante Conspectum ...
(Plainchant) ... Justitiam Suam
(2-Part Organum) ...Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Organum) ... Notum Fecit ...
... Dominus ...
(Plainchant) ... Justitiam Suam
(2-Part Organum) ...Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Motet): Factum Est Salutare/
(4-Part Organum): Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(4-Part Organum): Notum Fecit ...
... Dominus ...
.... Salutare Suum Ante Conspectum ...
(Plainchant) ... Justitiam Suam
(Plainchant): Viderunt Omnes ...
(Organum After 9th-Century Scolica Enchiriadis)...
(4-Part Organum): Sederunt Principes
(4-Part Conductus): Vetus Abit Littera

Customer Reviews:

Nice.......2006-11-04

This is a very good example of Polyphony as practiced in Notre Dame .....

A Resounding Success .......2005-12-27

If one read the album notes but failed to read the fine print on the rear of the jacket, one would likely assume that this recording was made in Notre Dame Cathedral, which it was not. It was recorded at Chancelade Abbey, Dordogne, France. (http://chapaq.free.fr/Congregations/Chancelade.htm)

The notes mention the fact that both Leonin and Perotin worked at Notre Dame and were both responsible for the Organum. Organum is Polyphony used in liturgical music from the late 9th century to c. 1250.

I bring this up because few people, even musicologists, understand the vital roles that acoustics and harmonics(overtones)played in the composition of sacred music until about the Seventeenth Century.

The musicologist, Thurston Dart, summarizes the influence that reverberation has on composers:

"But even a superficial study shows that early composers were very aware of the effect on their music of the surroundings in which it was to be performed, and that they deliberately shaped their music accordingly. Musical acoustics can be roughly divided into resonant, room and outdoor. Plainsong is resonant music; so is the harmonic style of Leonin and Perotin .. Perotin's music, in fact, is perfectly adapted to the acoustics of the highly resonant cathedral (Notre Dame Paris) for which it was written...."
(Thurston Dart, musicologist, "The interpretation of Music",Hutchinson, London pp56-57 (1954).

I think, like most 'moderns', Mr. Dart has got it backwards -- these composers were mostly aware of the effect of the surroundings upon their music. Composers like Leonin and Perotin and others, notably Allegri (composer of the famous "Miserere"), were more interested on the effect that the music, augmented by the acoustics, had on the congregation, in terms of literally uplifting their spirits and assisting them in participating directly in what was called the "Communion of Saints".

E. Power Biggs said: "An organist will take al the reverberation time he is given, and then ask for a bit more.... Many of Bach's organ works are designed .... to explore reverberation. Consider the pause that follows the ornamented proclamation that opens the famous Toccata in D minor. Obviously this is for the enjoyment of the notes as they remain suspended in the air". Church music sounds wrong when performed in a small non-reverberant space with a lot of acoustic absorbent such as curtains and carpets."
(http://www.acoustics.salford.ac.uk/acoustics_world/concert_hall_acoustics/acoustics_music.html)

E. Power Biggs and the pundits at Salford University, assume that Bach and his predecessors valued acoustics and resonance primarily from the standpoint of aesthetics. In other words, they chose reverberant halls because their music sounded better when performed in them. I believe that they too are missing the point. Acoustic Archeologists, like John Reid and Paul Devereux are beginning to discover that ancient holy places, such as Stonehenge and also the Gothic Cathedrals, like Notre Dame de Paris, were actually tuned to resonate certain specific pitches or sound frequencies. They are or contain what are called "resonant chambers".

A resonant chamber essentially reflects and amplifies or "empowers" certain specific frequencies, particularly when they are sung by a chorus (or congregation) of "pure voices" in unison. These frequencies and the harmonies reproduced by the reverberations elicited certain specific emotional responses, such as awe and reverence, from the assembly. I'm sure that Leonin and Perotin were well aware of the marvelous acoustics of Notre Dame and structured their music to take full advantage of it.

After the invention of the printing press, increasingly more emphasis was placed on the written and spoken word. Music was no longer spontaneously created or improvised and less and more reverberant acoustics only served to muddle the words of the preacher or celebrant.

I'm guessing that the reason why the producer, Jeremy Summerly, chose not to record this music in its original home is because it now uses a P.A. or electronic audio system, which is more appropriate for the modern mostly-spoken Mass. Masses are undoubtedly still sung there but the voices are likely amplified and filtered by electronics. The addition of modern furnishings can also affect the acoustics.

Speaking of electronics -- it is now possible to accurately reproduce the acoustics of a particular space, like Notre Dame Cathedral, electronically. The acoustics of Notre Dame have already been captured and digitally reproduced, I believe, by the Japanese Yamaha Company. Unfortunately, I did not have that particular software program ("algorhythm") but, using other software, I was able to create my own semi-cavernous cathedral space.

What an awesome experience!

Even without the virtual cathedral enhancement, the sound is marvelous and the performance is excellent.

One more technical consideration -- this recording was recorded and edited at 24-bit resolution. Unlike recordings made at a lower bit-rate, the sound, particularly in the higher registers, is smooth and clean. I wish that Jeremy Summerly would record Allegri's "Miserere" in a space that is acoustically similar to the Sistine Chapel, using the same technology. I haven't heard a recording of this work where the vital higher harmonics are not badly distorted.

Tim O'Hanlon

A Voice Feast from the Middle Ages.......2005-07-23

Recorded and edited in 24 bit resolution, this Naxos recording is a joy to the ears. The performing voices are solid and the direction of Antony Pitts has a sometimes dramatic, majestic, tempo. The only reason I did not concede full 5 stars is because in the Middle Ages female voices for Lithurgy were almost unknown, and in this record there are two sopranos and an Alto. If you enjoy Early Music you will need this record, if you are a beginner this is an intelligent way to introduce you to Polyphony, a cornerstone of Western music.

Music Album:

Music Album

Spamalot	The 25th Annual Putnam County Spelling Bee	The Light in the Piazza
Little Women	All Shook Up	Altar Boyz