Scene It All

Amazon.com
Scene It All is the Seldom Scene's first album since the death of founding member and spiritual leader John Duffey in 1996. The band's 2000 lineup consists of cofounder Ben Eldridge on banjo; Dudley Connell (formerly of the Johnson Mountain Boys) on vocals and guitar; Lou Reid (back for a second stint) on mandolin and vocals; Ronnie Simpkins on bass; and Fred Travers on Dobro and vocals. The program displays the open-minded eclecticism that has characterized the Seldom Scene from the beginning in 1971, with selections ranging from Muddy Waters ("Rollin' and Tumblin') and Chuck Berry ("Nadine") to Bob Dylan ("Boots of Spanish Leather") and Bruce Springsteen ("One Step Up"). Yet the sound is basically straightahead bluegrass, with Connell handling most of the lead vocals and Travers recalling Duffey with his high, lonesome harmonies and former Scenester Mike Auldridge with his clean, spare Dobro playing. Duffy himself makes an irreverent appearance in a hidden track at the end of the album, singing an unrehearsed version of the old George Morgan country hit "From This Moment On." --Rick Mitchell

Scene It All,The Seldom Scene,Sugarhill [Country],Bluegrass,Country,Pop,Progressive Bluegrass

Average customer rating: Dreamgirls 2001 Not the real "DREAM" experience Absolutely brilliant! Amazing!!!!!! One Night Only

Dreamgirls in Concert (2001 Concert Cast) Henry Krieger , Audra McDonald , Brian Stokes Mitchell , Emily Skinner , and Darius de Haas Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music McDonald, Audra | Divas | Opera & Vocal | Styles | Music General | Pop | Styles | Music General | R&B | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Classical | Styles | Music General | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Similar Items: Dreamgirls (1982 Original Broadway Cast) Dreamgirls: Music From The Motion Picture [2-CD Deluxe Edition] Dreamgirls Company (2006 Broadway Revival Cast) Grey Gardens - A New Musical (2006 Original Broadway Cast) ASIN: B00005Y4P4 Release Date: 2002-02-26

Tracks:

1. I'm Looking for Something, Baby
2. Goin' Downtown
3. Takin' the Long Way Home
4. Move (You're Steppin on My Heart)
5. Scene: Fifty bucks says the Dreamettes don't win
6. Fake Your Way to the Top
7. Scene: It ain't working, Marty
8. Cadillac Car
9. Cadillac Car (On the Road)
10. Cadillac Car (Recording Studio)
11. Scene: I don't believe they can do that
12. Steppin' to the Bad Side
13. Scene: I'm working on a long shot
14. Party, Party
15. I Want You, Baby
16. Scene: I'm a woman now
17. Family
18. Scene: What are you doing to that girl?
19. Dreamgirls
20. Press Conference
21. Heavy
22. Walkin' Down the Strip/Scene: Las Vegas
23. It's All Over
24. And I Am Telling You I'm Not Going

Tracks:

1. Opening Act II: Dreams Medley
2. Scene: Effie White is the best singer you're gonna find
3. I Am Changing
4. Vogue Sequence
5. When I First Saw You
6. Ain't No Party
7. I Meant You No Harm
8. The Rap
9. I Miss You, Old Friend
10. One Night Only
11. One Night Only (Disco Version)
12. I'm Somebody
13. Hard to Say Good-bye
14. Dreamgirls (Reprise)

Amazon.com

A Chorus Line may be better known, but Dreamgirls was a towering achievement for director Michael Bennett. Loosely based on the Supremes' story, the 1982 musical told a typical show-biz tale of fame, backbiting, and survival. As is often the case for one-night only events, the cast in this concert version (recorded in New York on September 24, 2001) is led by an eye-popping assortment of Broadway powerhouses: Lillias White (The Life), Audra McDonald (Ragtime, Marie Christine), and Heather Headley (Ragtime). McDonald reveals a previously undisclosed comic streak, while Headley confirms her status as a rising star. Reprising the role of Effie Melody White (created by Jennifer Holliday), White belts the classic "And I Am Telling You I'm Not Going." But the beauty of Dreamgirls is that it's so packed with catchy, Motown-influenced R&B numbers that each lead can sink her teeth into some prime material and get a turn in the spotlight. This double-CD set really makes you wish you'd been there when the show was recorded: you can hear the crowd going berserk at times, and the temptation is strong to do the same thing in the comfort of your living room. --Elisabeth Vincentelli

Customer Reviews:

Dreamgirls 2001.......2007-06-27

This was the worst reproduction of Dreamgirls that I ever heard. I was so disappointed the CD went into the garbage. This is one CD that I would not sell to the public because I expect so much and get so little.

Not the real "DREAM" experience.......2007-04-04

Forget about the film sountrack. Get this CD set. And it's far better than the original cast recording which goes lacking. More songs and more everything that makes a live performance just what it is. Live (compared to film where anything can be done to enhance a performance!) -- the energy, the excitement and the performances make this a rare treat for anyone wanting to share in the real DREAM experience.

Isn't a full Broadway revival long over due. But wait: I've heard rumors that a rvial may be "in the works. I certainly hope so. Maybe this time it will receive the Tony award it deserved in the first place.

Absolutely brilliant!.......2007-01-28

There is atleast 5 new songs on this album that were not in the movie! These girls kill it I mean they are just amazing singers, and this all live! This is needed for any Dreamgirls fanatic like me! You are gonna love it! Enjoy! love live laugh :)

Amazing!!!!!!.......2006-12-04

As a theatre lover, this recording is amazing. I actually prefer this recording to the OBC. Sheryl Lee Ralph is okay, but can't touch Audra's Deena. The first time I heard Ms. White's "And I Am Telling You..", goosbumps all over my body. The only weak cast member in my opinon is Heather Headly. Vocally, she just isn't there. Too much Aida, not enough Dreamgirls. But all in all, a great live recording of a great show.

One Night Only .......2006-07-19

I was lucky enough to attend this One Night Only concert performance of Dreamgirls and it was a night I will never forget!! The cast was brilliant and the cd is as good if not better than the Broadway cast recording because it is the entire show not just the songs. Bravo to everyone involved !!!

Average customer rating: Instruments of the Orchestra - Great Reference Material! Beginner or Expert Very Informative and Enjoyable Frank's view Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra Various Artists Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Hungarian National Philharmonic Orchestra | ( H ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Moscow Philharmonic Orchestra | ( M ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music General | Rap & Hip-Hop | Styles | Music General | Soundtracks | Styles | Music General | Instructional | Miscellaneous | Styles | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Hungarian National Philharmonic Orchestra | ( H ) | Performers, A-Z | Classical Music Blowout | Stores | Music London Philharmonic Orchestra | ( L ) | Performers, A-Z | Classical Music Blowout | Stores | Music Moscow Philharmonic Orchestra | ( M ) | Performers, A-Z | Classical Music Blowout | Stores | Music National Philharmonic Orchestra London | ( N ) | Performers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4 What to Listen for in Music Study of Orchestration, Third Edition The Life and Works of Ludwig van Beethoven The Life and Works of Frédéric Chopin ASIN: B00006O0NT Release Date: 2002-12-03

Tracks:

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

Tracks:

1. Introduction To The Viola
2. Viola Concerto (Mvt 1)
3. Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
4. Gayane Suite No.1 (Armen's Solo)
5. Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
6. Passacaglia, Op.33b From 'Peter Grimes'
7. The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
8. Harold In Italy (Mvt 4)
9. The Muted Viola: Intimate, Gentle, Poignant In Dvork
10. Cypresses (No.9)
11. The Massed Violas Of The Modern Symphony Orchestra In Mahler
12. Symphony No.4 (Mvt 3)
13. The 'Period' Viola In Bach
14. Brandenburg Concerto No.6 (Last Mvt)
15. The Cello: A Voice Of Unique Nobility
16. Suite No.1 For Unaccompanied Cello (Prelude)
17. Brahms And The 'Soul' Of The Cello
18. Piano Concerto No.2 In B Flat Major (Mvt 3)
19. Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
20. Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
21. In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
22. Symphony No.3 'Eroica' (Finale)
23. But The Cello Is Not Condemned To Spend Its Life In The Basement.
24. Elfentanz, Op.39
25. Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
26. The Protecting Veil (Opening)
27. A Cello With An Identity-Crisis: The Pizzicato Flamencan
28. Flamenco
29. Double-Stopping In The Lower Reaches Of The Cello's Range
30. Solo Suiet For Cello And Piano (Sardana)
31. It's In The Middle Register That The Cello Really Comes Into Its Own.
32. Oriental Dance, Op.2 No.2
33. It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
34. Symphony No.9 (Finale)
35. Introduction To The Double-Bass
36. The Carnival Of The Animals (The Elephant)
37. But The Double-Bass Can Be Intensely Expressive And Graceful.
38. Elegy No.1 In D Major
39. The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
40. Capriccio Di Bravura
41. Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
42. The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
43. Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.

Average customer rating: "With An Ear To The Ground" & The CD Player you will enjoy Caravan! Interesting Period Piece Caravan - 'If I Could Do It All Over Again I'd Do It All Over You' (Polygram) Absolutely essential and full of surprises! Caravan at their best

If I Could Do It All Over Again I'd Do It All Over You Caravan Manufacturer: Polygram Int'l ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Folk | Styles | Music Britain | British Isles | Europe | International | Styles | Music General | Jazz | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music Pop Rock | Pop | Styles | Music Album-Oriented Rock (AOR) | Classic Rock | Styles | Music Rock | Imports | Stores | Music Similar Items: In the Land of Grey and Pink For Girls Who Grow Plump in the Night Caravan Waterloo Lily The Rotters' Club ASIN: B00005A46U Release Date: 2001-04-17

Tracks:

1. If I Could Do It All Over Again, I'd Do It All Over You
2. And I Wish I Were Stoned/Don't Worry
3. As I Feel I Die
4. With an Ear to the Ground You Can Make It/Martinian/Only Cox/Reprise
5. Hello, Hello
6. Asforteri
7. Can't Be Long Now/Francoise/For Richard/Warlock
8. Limits
9. Day in the Life of Maurice Haylett [#]
10. Why? (And I Wish I Were Stoned) [#][Demo Version]
11. Clipping the 8th (Hello Hello) [#][Demo Version]
12. As I Feel I Die [Demo Version]
13. For Richard
14. Warlock
15. Limits

Album Description

Full title 'If I Could Do It All Over Again I'd Do It All Over You'. Remastered reissue of the British prog-rock act's 1970 album. Featuring the original 8 tracks and 4 bonus tracks, 'A Day In The Life Of Maurice Haylett', 'Why?', 'Clipping The 8th' and 'As I Feel I Die'. Standard jewel case. 2001 release.

Album Details

Digitally Remastered and available for the first time in over Eight years. Includes previously unreleased version of 'A Day in the Life of Maurice Haylett', 'As I Feel I Die', 'I Wish I were Stoned' and 'Hello Hello'.

Customer Reviews:

"With An Ear To The Ground" & The CD Player you will enjoy Caravan!.......2007-06-02

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" I am often asked to give thoughts on various rock and roll recordings from the 60's and 70's.

Caravan entered their golden period with this release (Their 2nd) in 1970. This album and the next three:
In The Land Of Grey And Pink
Waterloo Lilly
For Girls Who Grow Plump In The Night

showed the group at their best. While some would call them progressive rock it is closer to the Progressive/Psychedelic Canterbury Sound.

You may have been told how strong a guitar-player Pye Hastings is but he should also be applauded along with bass-player Richard Sinclair for perfectly placed and phrased vocals.

The album is consistant throughout. The track that has been given the most notice since its release is "For Richard" but please don't think they are a one trick pony. Caravan will grab your attention as soon as the opening cut is coming from your speakers and you'll receive some excellent bonus tracks to further bring you into the fold.

Caravan can also be respected greatly because they had a sound in mind and weren't concerned with record company pressure to get them more airplay.

Once the last notes play of this fine release you will be wanted the other three mentioned albums.

Be well always,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"

Interesting Period Piece.......2007-02-18

Caravan is very late 1960s and early 1970s, but the songs are certainly fun to list to.

Caravan - 'If I Could Do It All Over Again I'd Do It All Over You' (Polygram).......2007-01-02

Originally released in 1970,this was the UK progressive/Canterbury band's second album.This is like maybe the fourth Caravan CD I've ever heard. Not an artist I'll listen to all the time, but I do tend to like their epics very much so. Tracks here I found to be most inspiring were the jamming opener title cut "If I Could Do It All Over Again...", the folk progressive piece "With An Ear To The Ground" and the fourteen minute "Can't Be Long Now". Keep in mind their epics are usually quite brilliant. Plus, this CD reissue has seven bonus tunes tagged on. Another reason to add this title to your want list.

Absolutely essential and full of surprises!.......2005-11-17

Wow! I had forgotten just how great this album really is. I put on the remastered cd last night with a good pair of headphones and was instantly transported back in time. Beautiful melodies smoothly but quite unexpectedly segue into hard-hitting (though highly structured) jams that made the hair on the back of my neck stand up. Dave Sinclair's keyboards absolutely rock while the rest of the band cooks right along with him. The addition of Jimmy Hastings' flute and sax adds so much colour and depth to the extended pieces--top notch playing all around! I really love the "Englishness" of the vocals and lyrics, with their typically understated humour and charm. What else can I say? Together with "In The Land of Grey and Pink" this is the best stuff Caravan ever did, though "For Girls Who Grow..." is pretty close in overall quality and intensity. It's worth mentioning that the sound quality of the remastered disc is quite good (Richard Sinclair's bass sounds wonderful and I have a whole new appreciation for Richard Coughlan's excellent drumming) and the liner notes are insightful and interesting. Sorry for gushing, but I'm still on a cloud after hearing this again for the first time in quite awhile. Hurry and get it and be sure to buy a copy for a good friend. They'll love you for it. Cheers!

Caravan at their best.......2004-11-28

Since its first appearance in 1970 this album was acclaimed by critics (Melody Maker, Sept. 1970) as one of most singular albums of the year. At that time the rock scene was changing faster and faster. New bands grow up like mushrooms, but in spite oh that, very few of them produced a really original sound.
Surely Caravan were one of them and this album represents a very good example, their best I think, of their unique style that has survived with great honour to the severe judgements of time.

Average customer rating: "cinema's main stay themes prevail ~ City of Prague"

Reel Chill: The Cinematic Chillout Album Manufacturer: Silva America ProductGroup: Music Binding: Audio CD All Works by Albinoni | Albinoni, Tomaso | ( A ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Barber | Barber, Samuel | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Morricone, Ennio | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Nyman | Nyman, Michael | ( N ) | Featured Composers, A-Z | Classical | Styles | Music Rota, Nino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Sakamoto, Ryuichi | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Vangelis | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Film Scores | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: Reel Love: The Cinematic Romance Album Classical Chillout Classic Chillout, Vol. 2 Ultimate Movie Album Cinema Choral Classics ASIN: B0002IQGT4 Release Date: 2004-08-10

Tracks:

1. Sarabande [From Barry Lyndon]
2. Main Theme [From Midnight Cowboy]
3. Promenade Sentimentale [From Dive] - Mark Ayres
4. May It Be [From the Lord of the Rings: The Fellowship of the]
5. Women of Ireland [From Barry Lyndon]
6. Adagio for Strings & Organ [From Gallipoli [
7. Romeo/Love Theme [From Romeo & Juliet)
8. Balcony Scene [From Romeo + Juliet]
9. Main Theme [From Chariots of Fire] - Mark Ayres
10. Main Theme [From Bilitis] - Mark Ayres
11. Main Theme [From Merry Christmas Mr. Lawrence] - Mark Ayres
12. Main Theme [From Cinema Paradiso]
13. Main Theme [From Once Upon A Time in the West]
14. Deborah's Theme [From Once Upon A Time in America]
15. Suite: The Mission/Gabriel's Oboe/On Earth as It Is in Heaven ... - City of Prague Philharmonic Orchestra, Crouch End Festival Chorus

Tracks:

1. Suite: Mountains and Sunsets/The Wedding/You Only Live Twice [From You
2. Heart Asks Pleasure First [From The Piano]
3. Agnus Dei [From Platoon] - Crouch End Festival Chorus
4. Vide Cor Meum [From Hannibal]
5. Adagietto from Symphony No. 5 [From DeAth in Venice]
6. Any Other Name/Dead Already [from American Beauty] - Rick Clark,
7. Into the West [From the Lord of the Rings: Return of the King]
8. Where Dreams Are Made [From Artificial Intelligence]
9. Main Theme [From Somewhere in Time]
10. We Have All the Time in the World [From on Her Majesty's Secret ...]
11. Electronic Battlefield [From Patriot Games]
12. Now We Are Free [From Gladiator]
13. Intermezzo from Cavalleria Rusticana [From Raging Bull]
14. Cavatina [From the DeErhunter]
15. Main Theme [From Out of Africa]

Customer Reviews:

"cinema's main stay themes prevail ~ City of Prague".......2004-08-15

What a crowning achievement to bring "Reel Chill:Cinematic Chillout Album", released by Silva America and featuring The City of Prague Philharmonic Orchestra and the Crouch End Festival Chorus ~ conductors are Mark Ayres, Paul Bateman, Rick Clark, James Fitzpatrick, Nic Raine and David Temple director of the chorus ~ one can only expect the highest quality of performances and quench the thirst of all "film-score-buffs".

Sit back and unleash the first disc with composers ~ Albinoni, Craig Armstrong, John Barry, Vladimir Cosma, Enya & Nicky Ryan, Handel, Francis Lai, Ennio Morricone, Sean O'Riorda, Nino Rota, Ryvichi Sakamoto and Vangelis ~ taking each film score cue "BILITIS", "CHARIOTS OF FIRE", "CINEMA PARADISO", "DIVA", "GALLIPOLI", "THE LORD OF THE RINGS:THE FELLOWSHIP OF THE RING", "BARRY LYNDON", "MERRY CHRISTMAS MR. LAWRENCE", "MIDNIGHT COWBOY", "THE MISSION", "ONCE UPON A TIME IN AMERICA", "ONCE UPON A TIME IN THE WEST", "ROMEO & JULIET" and "ROMEO + JULIET", with arrangements that soar and then simmer into pure meditation of grandeur ~ classic film music prevails, as orchestration comes to the surface with pure originality ~ one masterpiece after another is long last presented as it should have been, is cause for celebration ~ each cue is a distinctive gift for striking modernism, touching on the transition of the period in this planets history.

Second disc is waiting in the wings are composers ~ Samuel Barber, John Barry, Patrick Cassidy, James Horner, Mahler, Mascagni, Stanley Myers, Thomas Newman, Michael Nyman, Howard Shore, John Williams and Hans Zimmer/Lisa Gerrard ~ take a musical ride with "AMERICAN BEAUTY", "A.I. ARTIFICAL INTELLIGENCE", "DEATH IN VENICE", "DEER HUNTER", "GLADIATOR", "HANNIBAL", "THE LORD OF THE RINGS:RETURN OF THE KING", "ON HER MAJESTY'S SECRET SERVICE", "OUT OF AFRICA", "PATRIOT GAMES", "THE PIANO", "PLATOON", "RAGING BULL", "SOMEWHERE IN TIME" and "YOU ONLY LIVE TWICE" ~ our composers with passion and skill for exploring human emotions, coupled with a unique gift for striking exotic orchestral colors, make this with all it's splendor unforgettable ~ themes that ring with familiarity as each film comes to mind through music.

Silva America gives the collector a treasure of thirty film cues that any "film-score-buff" would die for ~ in the past James Fitzpatrick (producer), Reynold da Silva (executive producer), mastered by Rick Clark and David Stoner (release co-ordinator) have given us compilation with such expertise and this one is no exception ~ keep up the outstanding limited editions and deluxe package releases, with your signature tidbits for all film music fans that's in all of us...gotta love it!

Total Time: 2-CD-Set ~ Silva America 1161 ~ (8/10/2004)

Average customer rating: EPICS THAT DO NOT DISAPPOINT Interesting selections . . . "Epics featuring The City Of Prague Philarmonic Orchestra ~ 60 years of film scores"

Epics: The History of the World According to Hollywood Manufacturer: Silva America ProductGroup: Music Binding: Audio CD All Works by Alwyn | Alwyn, William | ( A ) | Featured Composers, A-Z | Classical | Styles | Music Korngold, Erich Wolfgang | ( K ) | Featured Composers, A-Z | Classical | Styles | Music Morricone, Ennio | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Newman | Newman, Alfred | ( N ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Orff | Orff, Carl | ( O ) | Featured Composers, A-Z | Classical | Styles | Music Vangelis | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Walton | Walton, Sir William | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Waxman | Waxman, Franz | ( W ) | Featured Composers, A-Z | Classical | Styles | Music Film Scores | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Korngold, Erich Wolfgang | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Orchestral Pop | Easy Listening | Pop | Styles | Music Similar Items: The Essential Elmer Bernstein Film Music Collection Jerry Goldsmith: 40 Years of Film Music The Incredible Film Music Box The Magnificent Westerns The Longest Day: The Ultimate World War Movie Theme Collection ASIN: B0009KIYCW Release Date: 2005-09-06

Tracks:

1. Pre- Historic: One Million Years B.C.
2. The Ancient World: The Ten Commandments
3. The Ancient World: Alexander
4. The Ancient World: Sodom And Gomorrah
5. The Ancient World: The 300 Spartans
6. The Ancient World: Troy
7. The Ancient World: Alexander (Eternal Alexander)
8. The Might Of Rome: Quo Vadis
9. The Might Of Rome: The Robe
10. The Might Of Rome: Demetrius And The Gladiators
11. The Might Of Rome: Cleopatra
12. The Might Of Rome: Antony And Cleopatra
13. The Might Of Rome: Gladiator (Suite)
14. The Might Of Rome: Gladiator (Now We Are Free)

Tracks:

1. The Fall Of Rome: Masada
2. The Fall Of Rome: Spartacus (Main Theme)
3. The Fall Of Rome: Spartacus (Love Theme)
4. The Fall Of Rome: The Fall Of The Roman Empire (Pax Romana)
5. The Fall Of Rome: The Fall Of The Roman Empire (Overture)
6. Biblical Epics: The Greatest Story Ever Told
7. Biblical Epics: Jesus Of Nazareth
8. Biblical Epics: Ben-Hur (Parade Of The Charioteers)
9. Biblical Epics: Ben-Hur (Love Theme)
10. Biblical Epics: The Silver Chalice
11. Biblical Epics: The Passion Of The Christ
12. Medieval Europe: The War Lord
13. Medieval Europe: El Cid (Love Theme)
14. Medieval Europe: El Cid (Overture)
15. Medieval Europe: The Vikings (Suite)

Tracks:

1. Medieval Europe: Flesh & Blood
2. Medieval Europe: The Last Valley
3. Medieval Europe: Prince Valiant
4. Medieval Europe: Taras Bulba
5. Pirates & Swashbucklers: The Sea Hawk
6. Pirates & Swashbucklers: The Crimson Pirate
7. Pirates & Swashbucklers: Pirates Of The Caribbean
8. Pirates & Swashbucklers: Captain Blood
9. Kings & Queens: The Lion In The Winter
10. Kings & Queens: Henry V (1989)
11. Kings & Queens: Henry V (1944)
12. Kings & Queens: Mary Queen Of Scots
13. Kings & Queens: The Private Lives Of Elizabeth And Essex

Tracks:

1. Heroes: Excalibur - O Fortuna
2. Heroes: First Night
3. Heroes: The Adventures Of Robin Hood: March Of The Merry Men
4. Heroes: Braveheart
5. The New Worlds: Mutiny On The Bounty
6. The New Worlds: 1492 - Conquest Of Paradise
7. The New Worlds: Captain From Castle
8. The New Worlds: The Mission
9. The New Worlds: The Alamo
10. The British Empire/The Orient: The Charge Of The Light Brigade
11. The British Empire/The Orient: Lawrence Of Arabia
12. The British Empire/The Orient: Zulu
13. The British Empire/The Orient: The Last Samurai
14. The British Empire/The Orient: Exodus

Customer Reviews:

EPICS THAT DO NOT DISAPPOINT.......2007-05-14

WHAT A BRILLIANT IDEA TO TAKE HOLLYWOOD'S COLLECTION OF HISTORICAL EPIC MOVIES, EXTRACT THE BEST PORTIONS OF THE SCORES AND COMBINE THEM FROM THE DAWN OF MAN TO THE RECENT PAST. I PARTICULARLY ENJOY THE SUITES FROM GLADIATOR, BRAVEHEART AND THE VIKING. THE REPRODUCTION OF THESE SCORES BY THE CITY OF PRAGUE PHILHARMONIC ORCHESTRA AND CHORUS IS BRILLIANT, AND THE RECORDING WAS EXCELLENT. I ONLY WISH THERE WERE EIGHT DISCS INSTEAD OF FOUR TO COVER THE VOLUMES OF SCORES THAT COULD NOT BE INCLUDED. LET'S HOPE FOR A VOLUME II.

Interesting selections . . ........2006-12-15

This compiiation album makes an excellent gift for that person wanting to discover great, epic scores. I'm surprised, however, that Vangelis' Alexander is included in this one. Not bad, just surprised.

The reason I give this album 4 out of 5 stars is because of the swashbuckler section. How is it that CutThroat Island - one of the greatest epics in history - was scrubbed out of the list? Pirates of the Caribbean is included on the selection but nothing from Debney's masterpiece?!

Yes, that is a huge compilant. If you haven't discovered CutThroat Island, I suggest you get it then you'll understand my frustration. Still, this album is a great buy and worth looking into!

"Epics featuring The City Of Prague Philarmonic Orchestra ~ 60 years of film scores".......2005-09-07

When I think of the "Golden Age of Hollywood", many composers come to mind...you gave the usher your ticket in the theater and sat down, knowingly you were going to get your moneys worth...when the curtain opened and you heard those first few notes...you sat back, watched and listened as the film score and orchestra worked their magic...now we have the ultimate from Silva Screen Classics "EPICS:THE HISTORY OF THE WORLD ACCORDING TO HOLLYWOOD", featuring a four disc set of the essential film scores of the past 60 years...covering several decades right and up to the present 2005.

There are compilations and then there are "Compilations" beginning with a classics that even the youngsters today recognize...sweeping scores that capture the drama, mystery, adventure, action and romance...one great cue after another, it doesn't get any better than this...many nominated and winners by the Academy for Best Original Score...

Silva Screen Classics as usual, has put quality into this 4-CD-Set featuring The City Of Prague Philarmonic Orchestra and the Crouch End Festival Chorus conducted by Kenneth Alwyn, Paul Bateman, James Fitzpatrick, Mario Klemens and Nic Raine. Recorded in "Dolby Surround" with the new technology of "HDCD", this is a "film-score-buffs" dream, one to treasure now and years to come...this collection is aimed directly at the "Serious Film Score" music fans and collectors...Silva is as always, perfect in every way...just the way we like 'em!

Total Time: 4-CD-Set ~ Silva America 1170 ~ (9/6/2005)

Average customer rating:

Handel: The Masterworks (Box Set) Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Concerto Grossi | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Trio Sonatas | Sonatas | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music Oboe | Reeds & Winds | Instruments | Classical | Styles | Music Recorder | Reeds & Winds | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Handel, George Frideric | ( H ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Brilliant Classics | Amazon.com Label Stores | Stores | Music Similar Items: Vivaldi: The Masterworks (Box Set) Haydn: The Masterworks [Box Set] Mendelssohn: The Masterworks [Box Set] Dvorák: The Masterworks [Box Set] Schubert: The Masterworks [Box Set] ASIN: B00062FLI8 Release Date: 2004-11-30

Average customer rating: As Fine As Flowers... Absolutely Fantastic! Scene it All The Best Yet From The Seldom Scene Highly Recommend

Scene It All The Seldom Scene Manufacturer: Sugarhill [Country] ProductGroup: Music Binding: Audio CD General | Country | Styles | Music General | Bluegrass | Country | Styles | Music Contemporary | Bluegrass | Country | Styles | Music General | Country | Indie Music | Stores | Music Bluegrass | Country | Indie Music | Stores | Music Similar Items: Dream Scene Blue Ridge The New Seldom Scene Album Act Four Old Train ASIN: B00004SUB4 Release Date: 2000-05-16

Tracks:

1. Rollin' And Tumblin'
2. Dusty
3. I Will Always Be Waiting For You
4. Blue And Lonesome
5. You Better Get Right
6. Walking The Dog
7. From This Moment On
8. When The Walls Come Tumblin' Down
9. Boots Of Spanish Leather
10. Trust In The Tide
11. One Step Up
12. Nadine

Amazon.com

Scene It All is the Seldom Scene's first album since the death of founding member and spiritual leader John Duffey in 1996. The band's 2000 lineup consists of cofounder Ben Eldridge on banjo; Dudley Connell (formerly of the Johnson Mountain Boys) on vocals and guitar; Lou Reid (back for a second stint) on mandolin and vocals; Ronnie Simpkins on bass; and Fred Travers on Dobro and vocals. The program displays the open-minded eclecticism that has characterized the Seldom Scene from the beginning in 1971, with selections ranging from Muddy Waters ("Rollin' and Tumblin') and Chuck Berry ("Nadine") to Bob Dylan ("Boots of Spanish Leather") and Bruce Springsteen ("One Step Up"). Yet the sound is basically straightahead bluegrass, with Connell handling most of the lead vocals and Travers recalling Duffey with his high, lonesome harmonies and former Scenester Mike Auldridge with his clean, spare Dobro playing. Duffy himself makes an irreverent appearance in a hidden track at the end of the album, singing an unrehearsed version of the old George Morgan country hit "From This Moment On." --Rick Mitchell

Customer Reviews:

As Fine As Flowers..........2002-05-22

You'd be hard pressed to find a richer, sweeter Bluegrass sound than the warm melodies and tight harmonies so artfully presented on this exceptional CD. I speak from experience: somehow, these talented guys manage to win over not only the hard-core Bluegrass twangers, but the cautious Bluegrass neophytes and uninitiated as well. The Seldom Scene is a near perfect combination of outstanding musicians singing songs with simple but compelling lyrics to music that is just plain pretty. If you only have a dollop of country in you, you need this album.

Absolutely Fantastic!.......2002-02-25

Having enjoyed listening to these guys a bunch of times in the DC area over the last twenty years, I was curious to hear them now with so much change in personnel. Oh my...they sound GREAT! Definitely one of my favorite CD's. This may be one of the best iterations of a band which has held itself together so well in spite of the transitions. If you like bluegrass, you gotta have it! Thank you Ben Eldridge, and BRAVO Seldom Scene!!!

Scene it All.......2001-11-13

I bought this CDfor the song on it From This Moment On I think this is the prettest song I have ever heard I am a Blue Grass fan and have see the Seldom Scene in person.My wife thinks Dudley Connell is the best Blue Grass singer ever.I really enjoyed the CD.

The Best Yet From The Seldom Scene.......2000-10-18

The last thing that I would have expected is that the Seldom Scene would be even better after losing a musician, singer, and personality of John Duffey's caliber. Yet that is the case. Lou Reid and Dudley Connell's singing is exceptionally fine, the harmonies are wonderful, and the picking is great. From Ben Eldridge's opening roll on "Rollin' and Tumblin'" to the final notes of "Nadine" (and the trailing practice version of "From This Moment On") this CD breaks new ground and sets the highest standard for invention and musicianship.

Highly Recommend.......2000-05-17

This long awaited CD was well worth waiting for. Anyone who likes bluegrass music will love this CD and I highly recommend it. I have listened to it everyday for a month and will never tire of it. The mix of songs is excellent, from "in your face" to sweet to sad to rock and roll bluegrass. The harmonies are so close that they blend as one. I place it among my favorites.

Average customer rating: ISSUE RESOLVED ON THE EUPHRATES Enjoiyable, but lacking, too.

Handel: Belshazzar Manufacturer: Archiv Produktion ProductGroup: Music Binding: Audio CD Minuets | Ballets & Dances | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Pinnock, Trevor | ( P ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Samson Handel: Alexander's Feast Handel - Joshua / Kirkby, Bowman, Oliver, Ainsley, George, The King's Consort Handel: Solomon Handel: Radamisto ASIN: B0001ZWGHY Release Date: 2004-06-15

Tracks:

1. Overture
2. Vain, Fluctuating State Of Human Empire!
3. Thou, God Most High, And Thou Alone
4. The Fate Of Babylon, I Fear, Is Nigh
5. Lament Not Thus, Oh Queen, In Vain!
6. Behold, By Persia's Hero Made
7. Well May They Laugh/Oh Memory! Still Bitter To My Soul
8. Opprest With Never-Ceasing Grief
9. Dry Thoes Unavailing Tears
10. Be Comforted: Safe Though The Tyrant Seem/Methought, As On The Bank Of Deep Euphrates
11. Now, Tell Me, Gobrias
12. Behold The Monstrous Human Beast
13. Can You Then Think It Strange
14. Great God! Who, Yet But Darkly Known
15. My Friends, Be Confident
16. All Empires Upon God Depend
17. Oh Sacred Oracles Of Truth!
18. Rejoyce, My Countrymen
19. Sing, Oh Ye Heav'ns!

Tracks:

1. Let Festal Joy Triumphant Reign!
2. For You, My Friends
3. The Leafy Honours Of The Field
4. It Is The Custom, I May Say, The Law
5. Recall, Oh King! Thy Rash Command
6. They Tell You True
7. Oh Dearer Than My Life, Forebear!
8. By Slow Degrees The Wrath Of God
9. See, From His Post Euphrates Flies!
10. You See, My Friends, A Path
11. Amaz'd To Find The Foe So Near
12. To Arms, To Arms! No More Delay!
13. Ye Tutelar Gods Of Our Empire
14. Let The Deep Bowl Thy Praise Confess
15. Where Is The God Of Judah's Boasted Pow'r?
16. Call All My Wise Men

Tracks:

1. A Singony (Allegro Postillions)
2. Ye Sages! Welcome Always To Your King/Alas! Too Hard A Task The King Imposes
3. Oh Misery! - Oh Terror! - Hopeless Grief!
4. Oh King, Live For Ever!
5. No! To Thyself Thy Trifles Be
6. Yet, To Obey His Dread Command
7. Oh Sentence To Severe!
8. Oh God Of Truth! Oh Faithful Guide!
9. You, Gobrias, Lead Directly To The Palace
10. Oh Glorious Prince!
11. Alternate Hopes And Fears
12. Fain Would I Hope
13. Can The Black Aethiop Change His Skin?
14. My Hopes Revive
15. Bel Boweth Down!
16. I Thank, Thee, Sesach
17. A Martial Symphony
18. To Pow'e Immortal My First Thanks
19. Be It Thy Care, Good Gobrias
20. Great Victor, At Your Feet I Bow
21. Say, Venerable Prophet
22. Tell It Out Among The Heathen
23. Yes, I Will Build Thy City
24. I Will Magnify Thee

Customer Reviews:

ISSUE RESOLVED ON THE EUPHRATES.......2005-06-19

One question I might find among the more difficult in my life would be - which is my favourite Handel oratorio? I suspect that my answer would generally be 'the one I heard most recently', and that, as I write this, is Belshazzar. It is a magnificent thing, a heavenly thing. It has taken me longer than it should have to come to an appreciation of what makes Handel the phenomenon - as a genius, as an artist, as a craftsman - that he is, but I am comforted to reflect that no less a genius than Haydn, at the age of nearly 70 gaining a more thorough knowledge of Handel in performance, was driven to say that he felt a mere apprentice. In his sense of how to pace a dramatic narrative, in his instinct for how to use the human voice in song and above all in chorus, in the matchless flexibility and adroitness he displays at word-setting and in the audacity of his melodic and harmonic effects I can think of nobody who can approach Handel on his own terms.

Belshazzar was not a great success at the box-office, although this may have had more to do with difficulties in the casting than because it was deemed insufficiently biblical for oratorio, which seems to have been the fate of Hercules. It seems to me to be perfectly well described as oratorio in other ways too, with (for one thing) the extensive use of the chorus that we find in, say, Samson but not in Hercules. The one passage that cries out for visual effects is of course the apparition of the moving finger itself. Even here the composer can go a long way with sheer power of suggestion, by the strange unaccompanied violin figure creeping upwards and the frightened brevity of the vocal numbers. Otherwise for me Belshazzar is as much an oratorio as Samson is. It has the same librettist too, the crusty and formidable Jennens, who had also collaborated with Handel on Saul and on Messiah itself. Jennens' full text is not provided, but I think if you read the synopsis first and then follow the work from the headlines to each number you will have no difficulty in catching the words, so clear is the enunciation by soloists and chorus alike. As usual, Handel was driven to make alterations to the score for practical reasons. He had been a little concerned about its length, roughly 2 hours and 50 minutes in this performance, but where he wishes to be expansive he gives us full measure - two arias in Act I scene 4 take well over 7 minutes each. The liner-essay (a good one, by Anthony Hicks) goes into the issue of the version of the score used here, and I personally have no problem with it.

I have no faults to find with the performance in any way. Pinnock is an established specialist, the instruments are period instruments and vocal cadenzas at the end of the arias are kept minimal. Anthony Rolfe Johnson, James Bowman and David Wilson-Johnson are tried and trusted Handel singers and at their best here, and Nicolas Robertson and Richard Wistreich in the smaller parts are every bit as good. The part of Cyrus is a soprano part, taken by Catherine Robbin, and when I thought I heard just one touch of strain in `Destructive War' in the final scene she makes up for it instantly in her superb duet with Arleen Auger in the following number. Auger as Nitocris the mother of Belshazzar has the biggest part, and she covers herself with glory all the way through.

The recording is perfect, and when I saw an aria entitled `Destructive War, thy limits know' near the end I felt a sharp sense of irony in the year 2005. Cyrus, Handel, Jennens, you should all have been living at this hour.

Enjoiyable, but lacking, too........2004-08-16

This 3CD set of George Frederic Handel's (1685-1759) "Belshazzar", from Archiv Production, a division of Universal Music, is proof again that transfer from vinyl to tape to disc brings with it improvements in listening that make the purchase a worthwhile addition to anyone's listening library. Written in 1744, "Belshazzar" is an oratorio in the operatic style that is wonderful oratorio, but lacking the true depth one expects to hear in an opera. London opera audiences of Handel's day agreed, as both "Belshazzar" and Handel's other offering of the period in the same style, "Hercules", were not terribly successful. Instead of the scheduled 24 performances only 16 were given and Handel never offered a full season of oratorio again. The Libretto by Charles Jennens (1700-1773) is, as the production notes say, meant "not only to show the fall of Babylon but to show it as a fulfillment of divine prediction and to confirm the biblical testimony by reference to classical history." There's only one problem, as good a quality as the CDs are, it is not possible to follow the full libretto and the accompanying booklet includes no text, which is a shame. I think the listening experience would have been increased immeasurably if one was able to follow the text of what is being sung. Nonetheless the dramatic narrative is fluid and even, and the English Concert and Choir provide nice balance to the less full vocal passages, as in Disc 3s "Oh Glorious prince", cut 10. There is enough of this throughout to keep one's interest, but disappointing if what one expects is another ""Messiah".

Average customer rating: Champagne Music!

Offenbach: La Belle Hélène; Orpheus in the Underworld; La Vie Parisienne (Highlights) Manufacturer: Class. for Pleas. Us ProductGroup: Music Binding: Audio CD All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Johann Strauss II: Die Fledermaus; The Gypsy Baron (Highlights) Léhar: The Land of Smiles; The Merry Widow; The Count of Luxembourg (Highlights) Offenbach: Orpheus in the Underworld / Burgess, Watson, etc (Highlights) ASIN: B00009KHY3 Release Date: 2003-09-02

Tracks:

1. Overture
2. The Happy Bride Never Stumbles
3. You've Gone Too Far!
4. May I Make Myself Known?
5. My Death Appears Divinely Smiling
6. When Diana Leaves The Mountains
7. To Arms!
8. When Jupy Feels The Inclination
9. Here Comes Orpheus
10. When I Was King Of The Boeotians
11. I Thought That I Felt On My Shoulder
12. What Heavenly Joy Is Mine
13. Minuet And Galop
14. Overture
15. How Sad We've Made The Marchioness
16. Well Isn't That Just Life All Over?
17. I'm The Guide For Every Tourist
18. I Am A Native Of Brazil
19. In This Enchanting Queen Of Cities
20. I Am A Dab At Carving Pork
21. We Have Seen Sights Since Eleven... I'm A Colonel's Widow
22. Dinner Is Served

Tracks:

1. Oh, Little Cloud
2. When She Goes Out... Her Petticoats Go Frou, Frou, Frou
3. Does He Know He's Splitting Down The Back
4. Nobody Would Call Me A Rover
5. I'll Have So Much To Say
6. It's Most Important You Should Show
7. Here You See The Place
8. My Friends, I'm Most Delighted To See You
9. In Songs And Shouts... Paris Blooms Like A Flower
10. Introduction
11. To Bow To Jupiter We Gather At The Shrine
12. We've Had A Night Out
13. On Mount Ida Three Great Ladies (The Judgement Of Paris)
14. March And Entry Of The Kings
15. Entr'acte
16. We All Begin By Truly Trying
17. It Is Her That Has Sent This Sweet Love Dream
18. Come Here, You Kings Of Greece
19. When All Of Greece Has Been Ravaged
20. Do You See?

Customer Reviews:

Champagne Music!.......2006-07-09

Thank goodness that these well filled CDs of selections from three of Offenbach's most entertaining and tuneful operettas are available. Exactly the thing to provide some hearty nourishment for Winter nights. Ideal also for a Summer barbecue. In both cases, a glass of champagne, or at least some other bubbly beverage, would be good to have at hand - everything here no doubt will call for a toast or several.

It is so nice to be able to hear in these translations the witty words, sung with welcome clarity and meaning by these admirable artists. As I recall, there were no microphones in sight, and perhaps not even used, when this production of Orpheus In The Underworld was brought to Australia, with a few cast changes but the same sparkle as shown here. Crisp diction and lively, often lovely, singing - a great recipe for enjoyable listening indeed.

The recording sounds a bit shrill here and there, but what a churlish quibble; to Hades with such curmudgeonly qualifications! This is music to raise the spirits, and not just those from Hades.

Average customer rating: A Rose By Any Other Name... "Thus I salute the stronghold, safe from dread and dismay! Free at last! I Love This Recording The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Valkyrie The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) ASIN: B00005B550 Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.


Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

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3. Tall Tales
4. The Best of Patsy Montana
5. The Complete Capitol Hits of Faron Young
6. The Complete MCA Recordings
7. The Drifter
8. The Early Rebel Recordings: 1962-1971 [Box set]
9. The Essential Marty Robbins: 1951-1982 [Box set]
10. The Fabulous Johnny Cash [Original recording remastered]

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