| 1. Historia de un Amor |
| 2. Rumba en el Barrio |
| 3. What you won't do for Love |
| 4. Hello |
| 5. Mama Guela |
| 6. Ayer te Ame |
| 7. La Fiesta |
| 8. En mi viejo San Juan |
Editorial Reviews
Product Description
This is the debut album for the talented twin brothers, Vinny and Ray. Diverse Latin sounds blend with Spanish and English vocals. Their Jazz influence is notable in their original song "Rumba en el Barrio" and "Mama Guela". Their two English songs arranged to a Latin beat invite the English speaking audience to the Latin world. "What you won't do for love" is an R&B song tastefully arranged to a salsa beat. "La Fiesta" is the merengue that invites the listener to move. Vinny & Ray pay homage to their roots with their last instrumental song "En mi viejo San Juan".
This is the music that got me through the rough times,takes you away to a whole different place.When I saw this set on Amazon,I had to have it;and I've not been dissappointed.When I played disc 1,I got chills just like back in the day. Rhino's remastering kicks serious a--!Rich,clear and full sound.I know the few edits are kind of a pain,but hey-no biggie.Just sit back,crank up the headphones and FEEL the music. Now I know what you other hard-core fans are saying-"What about disc 2?" I've got a tip for you-when you listen to the second disc,just listen to it for what it is-not as a CHICAGO fan.It's really pretty good stuff.Besides,the 1st disc is worth the price of the whole set anyway. Those of you who are not too familiar with the group,here's what you'll get-superior musicianship,powerful horns,extraordinary guitar work(Kath),a very strong,much overlooked rythum section and wonderful vocal harmonies.A band with incredible range and versatility. What else can I say! Five stars-easy!
A few years later, in the middle 50's, I bought Kapell's recording of the same work, with Fritz Reiner and the Robin Hood Dell Orchestra (alias of The Philadelphia Orchestra). I still have that LP, though I wore it out long ago. It was the beginning of my musical education. But since 1998, we have had this wonderful box of reissues from the vaults of RCA. The sound is mostly excellent, considering the age of the monophonic originals. To this day, Kapell's Rachmaninov Rhapsody remains-in my opinion-the most impassioned, yet the most musical, reading of the piece ever recorded. No one had, or has, Kapell's combination of white-hot temperament, technical brilliance, and musical insight. We have had musical geniuses; technical wizards abound. It is the combination of these gifts, as Kapell possessed them in particular, married to his incendiary passion, that made him unique.
He was still learning, and he was learning at such an astounding rate! He had moved from Khachaturian to the most unforgettable Chopin B minor Sonata ever recorded in little more than a decade. His deep throated, noble, and articulate Bach has caused some to speculate that Glenn Gould might have found his inspiration in Kapell. One Gould biographer, and a New York critic, wrote that the reverse was true. The critic acknowledged the error, in print, noting that Kapell could not have been influenced by Gould's style since he had been dead for two years by the time of Gould's debut recital in New York City in 1955.
The lyrical side of romantic music is not what Kapell was or is known for, not his "style" as people remember him now. But listening to the lyrical music in this set shows a side of him that was, nevertheless, as real as any, and perhaps more revealing. It also gives us a notion of what we might have expected of William Kapell had he lived a normal span of years and played a normal variety of music. In a live performance, he plays Chopin's Nocturne, Op. 9, No. 1, with melting legato and exquisite timing: his innate sense about when to tug on the beat and when to surge forward makes the music breathe. His use of dynamic variety demands the greatest respect: at one point, the repetition of a melodic phrase is but a pale echo of its first statement. His tonal palette is no less wondrous. When a deep bass note suddenly appears, early in the A section of the ABA structure, it sounds-not loud nor quiet, not muffled nor distinct-but awesomely subterranean. Kapell begins the piece without much sustaining pedal, but in the B section, he subtly adds more and more. Then, when the A section returns near the end, the pedal disappears. This dramatic change in color-along with Chopin's change of key-seems like the parting of clouds. We are in the hands of two masters here, Chopin and Kapell. Kapell gave this performance in Carnegie Hall in February of 1945, when he was twenty-two years old.
In the Bach and Chopin works I've discussed, the steely, percussive tone that some speak of is nowhere to be heard. Rather, we hear a full, rich, and complex piano tone. In the Chopin Sonatas, the Debussy pieces, and the Schubert, Schumann, Mendelssohn, Debussy, and Albeniz, the sound Kapell produces is beautiful and varied.
He was a chamber musician of the first order, as his collaborations with Heifetz prove. (He was one of the very few musicians who had the force of personality to make Heifetz accompany HIM. And you can hear it.) And if you've never heard Rachmaninov's great Cello Sonata, played here with the grand Russian/German cellist Edmund Kurtz, you're in for a treat. There are several fine, modern stereo recordings, but this one is special. The piano part is very important-Rachmaninov did write it, after all-and Kapell is magnificent. This was Rachmaninov's next published work after the 2nd Piano Concerto, to give you an idea of its melodic grandeur. If there is a flaw here, it is that the piano is recorded too far back, relative to the cello.
Kapell died on October 30, 1953. He had just turned thirty-three. He played his last recital in Geelong, Australia, on the 22nd. It included the Chopin 2nd Piano Sonata which contains the well-known "Marche funèbre." That performance is included here, transferred from the original acetates. It is a great performance but very hard to listen to now, in light of what was to follow just over a week later. I am writing this one day short of the 52nd anniversary of Kapell's death. Had he lived until today, he would be younger than either Earl Wild or Ivan Moravec, both of whom are still making magnificent music. For those of us who love William Kapell's music, it is heartbreaking to consider, and fruitless. Thank Heaven we have recordings like the ones in this set. They are essential for any lover of good music.
John Pendley
William Kapell is still considered by most as the America's greatest pianist, even fifty odd years after his death at the age of 31 in a plane crash. Those who heard him perform still rhapsodize over the magic he created. Those of us who are left with only recordings, such as this spectacular boxed set of all of his recordings, can only be uplifted by the man's genius, his extraordinary technical facility, and his intuitive, profound approach to the great works of music.
All styles of music were easily accessible to Kapell. Listen to the Mozart, Bach, Scarlatti, Paganini and Mendelssohn and try to imagine performances of more clarity and finesse than these. His Chopin is well represented in this set and glows with the uncanny power and tenderness that Chopin combined in his works. His works for solo piano by Rachmaninov and Shostakovich are the gold standard, and yet his Schubert, Schumann, Brahms, Mussorgsky and Liszt raise the bar for excellence that has since not been excelled. Joyously this set includes concerti including Prokofiev, Beethoven, Khachaturian, and Rachmaninov with the various conductors who saw Kapell's gifts and championed them.
The memory of this great artist is felt throughout the year, but never as acutely as on October 29th which marks the date of his cruel death. The world was brightened for too short a time by William Kapell, yet because of his recorded legacy his legend lives on. This is an impossibly fine box set of treasures. Highly Recommended. Grady Harp, October 05
Some comments of each recording.
Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.
Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.
Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).
Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).
Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.
Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).
Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).
Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.
Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.
The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.
Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.
Personally, I enjoy this CD set of Symphony 1, 5, 6, 8 and 9
On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.
My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.
The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).
So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).
Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:
#1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.
#2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).
#3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).
#4. Horenstein (Chief CD) and Kletzki (EMI) now strike me as the finest stereo readings. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.
#5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.
#6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).
#7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. I also treasure the Horenstein despite its poor execution (better heard on a Descant CD than on BBC or M&A). Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.
#8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.
#9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.
#10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.
Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).
This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.
Every last note!
The shipping alone would be $17.00+ for the 5 individual Cds.
Englishman Martin Jones plays these as if he wrote them. He is thoroughly inside this music.
I think his best work to date.
He is joined on CD #5 by Richard Mcmahon and Phillip Martin. Where they rollick in various combos and trios on 1, 2 and 3 pianos. This is exhilerating. Especially on an truly uplifting version of Green Bushes.
The entire set is strongly idiomatic and given a clear, crisp, warm and spacious recording. FIRST CLASS sound.
There are too many highlights to single out, but the In A Nutshell Suite and Green Bushes are especially GOOD!
There is not a bad note or "vibe" on any of these CDs.
Highly recommended for Granger fans and fans of English Piano Music.
This set of discs is something you might pick up at a live concert of your favorite local band, representing what they played that night in studio recording. This set of discs was released to accompany Philip's current world tour of Philip On Film. Although almost all of it has been released previously, this isn't just a way to make a "quick buck". This is a great way to get most of the music played at these performances and, most of all, is a bargin way to get a lot of his best music to date. I also don't personally agree with the "highlights" idea with Belle and Mundi, but to a person wanting post-Einstein Glass, this is a good way to start. Also, I would think that anyone who believes that Glass has written the same music since Einstein needs to listen more and generalize less because there is a wealth of music out there that you may not realize exists.
This is the debut album for the talented twin brothers, Vinny and Ray. Diverse Latin sounds blend with Spanish and English vocals. Their Jazz influence is notable in their original song "Rumba en el Barrio" and "Mama Guela". Their two English songs arranged to a Latin beat invite the English speaking audience to the Latin world. "What you won't do for love" is an R&B song tastefully arranged to a salsa beat. "La Fiesta" is the merengue that invites the listener to move. Vinny & Ray pay homage to their roots with their last instrumental song "En mi viejo San Juan".
Only the beginning,Vinny & Roy,Ardel Records,High Energy Band. Latin, Latin Jazz, Salsa, Merengue, and pure rhythm.,Latin Pop/Rock
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The Very Best of Chicago: Only the Beginning
Chicago Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD  General
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ASIN: B000068ZVQ Release Date: 2002-07-02 |
Tracks:
- Make Me Smile
- 25 Or 6 To 4
- Does Anybody Really Know What Time It Is?
- Beginnings
- Questions 67 And 68
- I'm A Man
- Colour Of My World
- Free
- Lowdown
- Saturday In The Park
- Dialogue (Part I & II)
- Just You 'N' Me
- Feelin' Stronger Every Day
- (I've Been) Searchin' For So Long
- Wishing You Were Here
- Call On Me
- Happy Man
- Another Rainy Day In New York City
- If You Leave Me Now
Tracks:
- Old Days
- Baby, What A Big Surprise
- Take Me Back To Chicago
- Alive Again
- No Tell Lover
- Love Me Tomorrow
- Hard To Say I'm Sorry/Get Away
- Stay The Night
- Hard Habit To Break
- You're The Inspiration
- Along Comes A Woman
- Will You Still Love Me?
- If She Would Have Been Faithful...
- Look Away
- What Kind Of Man Would I Be?
- I Don't Wanna Live Without Your Love
- We Can Last Forever
- You're Not Alone
- Chasin' The Wind
- Sing, Sing, Sing (w/ The Gipsy Kings)
Amazon.com
From the perspective of 15 subsequent platinum albums and 20 top-10 hits, it's hard to imagine that Chicago began their career as a bona fide prog-fusion act, an early FM radio favorite whose jazz-tinged, album-length suites found them a hip cult following even as they confounded label execs. Ironically, when the pioneering horn band (a contemporary of Blood, Sweat & Tears and inspiration for one-hit wonders like Lighthouse, Ides of March, and Ten Wheel Drive) relented and allowed their music to be edited down to single length, their success was explosive. Most of the "single edits" on disc 1 of this 39-track anthology provide ample evidence of that de facto formula: a catchy riff ("25 or 6 to 4," "Saturday in the Park," "Color My World") develops into a hook-filled, pop-savvy production rife with the band's trademark horn perfection. One could argue that that sensibility--and a midcareer tilt toward producer David Foster, songwriter Diane Warren, and the MOR ballads that became some of their biggest successes--degenerated into formula. Indeed, there's much on the second disc to support that notion. This set spans it all, showcasing newly refocused edits of some their biggest early hits and lesser-known tracks like their lively '95 cross-cultural collaboration with the Gipsy Kings on a cover of Louis Prima's swing classic "Sing, Sing, Sing." --Jerry McCulleyAlbum Description
Subtitled - Only The Beginning. Double disc with 39 hit singles spanning Chicago's complete 35-year history. Including the #1 singles 'If You Leave Me Now,' 'Hard To Say I'm Sorry' and 'Look Away'. Booklet features detailed liner notes by Bill DeYoung. Rhino Records. Slipcase. 2002.Customer Reviews:
God, I needed this!.......2007-03-28
This is the music that got me through the rough times,takes you away to a whole different place.When I saw this set on Amazon,I had to have it;and I've not been dissappointed.When I played disc 1,I got chills just like back in the day. Rhino's remastering kicks serious a--!Rich,clear and full sound.I know the few edits are kind of a pain,but hey-no biggie.Just sit back,crank up the headphones and FEEL the music. Now I know what you other hard-core fans are saying-"What about disc 2?" I've got a tip for you-when you listen to the second disc,just listen to it for what it is-not as a CHICAGO fan.It's really pretty good stuff.Besides,the 1st disc is worth the price of the whole set anyway. Those of you who are not too familiar with the group,here's what you'll get-superior musicianship,powerful horns,extraordinary guitar work(Kath),a very strong,much overlooked rythum section and wonderful vocal harmonies.A band with incredible range and versatility. What else can I say! Five stars-easy!
Chicago CD.......2007-03-22
The very best!.......2007-01-09
BIG DEAL ANOTHER GREATEST HITS COLLECTION. THERE ARE OTHER CHICAGO ALTERATIVES..................2007-01-07
1/2 Good.......2006-11-20
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William Kapell Edition (Box Set)
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ASIN: B00000B9MR Release Date: 1998-09-29 |
Tracks:
- Mazurkas: Op. 6, No. 2
- Mazurkas: Op. 7, No. 2
- Mazurkas: Op. 7, No. 5
- Mazurkas: Op. 17, No. 2
- Mazurkas: Op 17, No 3
- Mazurkas: Op. 17, No. 4
- Mazurkas: Op. 24, No. 1
- Mazurkas: Op. 24, No. 3
- Mazurkas: Op. 30, No. 3
- Mazurkas: Op. 33, No. 1
- Mazurkas: Op. 33, No. 3
- Mazurkas: Op. 33, No. 4
- Mazurkas: Op. 41, No. 1
- Mazurkas: Op. 41, No. 2
- Mazurkas: Op. 50, No. 2
- Mazurkas: Op. 50, No. 3
- Mazurkas: Op. 56, No. 3
- Mazurkas: Op. 59, No. 1
- Mazurkas: Op. 59, No. 2
- Mazurkas: Op. 63, No. 2
- Mazurkas: Op. 63, No. 3
- Mazurkas: Op. 67, No. 2
- Mazurkas: Op. 67, No. 3
- Mazurkas: Op. 67, No. 4
- Mazurkas: Op. 68, No. 2
- Mazurkas: Op. 68, No. 3
- Mazurkas: Op. 68, No. 4
- Mazurkas: Op posth. - 'Notre temps'
- Mazurkas: Op posth - In B Flat
Tracks:
- Sonata No. 3, Op. 58 In B Minor: Allegro maestoso
- Sonata No. 3, Op. 58 In B Minor: Scherzo: Molto vivace
- Sonata No. 3, Op. 58 In B Minor: Largo
- Sonata No. 3, Op. 58 In B Minor: Finale: Presto, non tanto
- Waltz, Op. 18 In E Flat Major
- Sonata No. 2, Op. 35 In B-Flat Minor: Grave; Doppio movimento
- Sonata No. 2, Op. 35 In B-Flat Minor: Scherzo
- Sonata No. 2, Op. 35 In B-Flat Minor: Marche funebre
- Sonata No. 2, Op. 35 In B-Flat Minor: Presto
- Nocture, Op. 9, No. 1 In B Flat Minor
- The Sheperd's Complaint: No. 5, Songs Without Words, Op. 67
- Romance, Op. 28, No. 2 In F Sharp
- Sonata No. 16, K. 570 In B Flat: II. Adagio
Tracks:
- Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace; Variation I: (Precedente)
- Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation II: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation III: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation IV: Piu Vivo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation V: Tempo precedente
- Rhapsody On A Theme Of Paganini, Op. 43: Varation VI: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation VII: Meno mosso, a tempo moderato
- Rhapsody On A Theme Of Paganini, Op. 43:: Varation VII: Tempo 1
- Rhapsody On A Theme Of Paganini, Op. 43: Varation IX: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation X: Poco marcato
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XI: Moderato
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XII: Tempo di minuetto
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XIII: Allegro
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43:: Varation XV: Piu vivo scherzando
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XVI: Allegretto
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XVII: [Allegretto]
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XVIII: Andante cantabile
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XIX: A tempo vivace
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XX: Un poco piu vivo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XXI: Un poco piu vivo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XXII: Un poco piu vivo (Alla breve)
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XXIII: L'istesso tempo
- Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: A tempo un poco meno mosso
- Concero No. 2, Op. 18 In C Minor: Moderato; Allegro
- Concero No. 2, Op. 18 In C Minor: Adagio sostenuto
- Concero No. 2, Op. 18 In C Minor: Allegro scherzando
- Prelude, Op. 3, No. 2 In C Sharp Minor
- Preludes, Op. 34: No. 24 In D Minor
- Preludes, Op. 34: No. 10 In C Sharp Minor
- Preludes, Op. 34: No. 5 In D Major
Tracks:
- Concerto No. 3, Op. 26 In C: Andante; Allegro
- Concerto No. 3, Op. 26 In C: Tema: Andantino
- Concerto No. 3, Op. 26 In C: Variation I: Listesso tempo
- Concerto No. 3, Op. 26 In C: Variation II: Allegro
- Concerto No. 3, Op. 26 In C: Variation III: Allegro moderato (poco meno mosso)
- Concerto No. 3, Op. 26 In C: Variation IV: Andante meditativo
- Concerto No. 3, Op. 26 In C: Variation V: Allegro giusto
- Concerto No. 3, Op. 26 In C: Tema: Listesso tempo
- Concerto No. 3, Op. 26 In C: Allegro ma non troppo
- Concerto: Allegro mastoso
- Concerto: Andante con anima
- Concerto: Allegro brillante
- Preludes, Op. 34: No. 14 In E Flat Minor
- Preludes, Op. 34: No. 10 In C Sharp Minor
- Preludes, Op. 34: No. 5 In D Major
Tracks:
- Concerto No. 2, Op. 19 In B Flat Major: Allegro con brio
- Concerto No. 2, Op. 19 In B Flat Major: Largo
- Concerto No. 2, Op. 19 In B Flat Major: Rondo: Allegro scherzando
- Moment Musical: Moment Musical In F Minor, D. 780, No. 3
- Waltz: Waltz In B Major, D. 145, No. 2
- Waltz: Waltz In B Major, D. 145, No. 6
- Waltz: Waltz In E Major, D. 365, No. 26
- Waltz: Waltz In F Major, D. 365, No. 32
- German Dances: German Dance In B Flat Major, D. 783, No. 6
- German Dances: German Dance In B Flat Major, D. 783, No. 7
- Waltz: Waltz, In F Major, D. 365, No. 34
- Landler: Landler, In G Major, D. 734, No. 1
- Landler: Landler, In D Major, D. 734, No. 2
- Impromptu: Impromptu In A Flat Major, D. 935, No. 2
- Romance: Romance In F Sharp Major, Op. 28, No. 2
- Intermezzo: Intermezzo In E Major, Op. 116, No. 6
- Sonetto No. 104 del Petrarca - Liszt
- Hungarian Rhapsody No. 11 - Liszt
- Mephisto Waltz No. 1 - Liszt
Tracks:
- Partita No. 4 In D Major, BWV 828: Ouverture
- Partita No. 4 In D Major, BWV 828: Allemande
- Partita No. 4 In D Major, BWV 828: Courante
- Partita No. 4 In D Major, BWV 828: Aria
- Partita No. 4 In D Major, BWV 828: Sarabande
- Partita No. 4 In D Major, BWV 828: Menuet
- Suite In A Minor, BWV 818: Allemande
- Suite In A Minor, BWV 818: Courante
- Suite In A Minor, BWV 818: Sarabandes 1 & 2
- Suite In A Minor, BWV 818: Gigue
- Sonata In E Flat Major, K. 380 - L. 23
- Sonata In B Flat Major, K. 570: 2. Adagio
- From Iberia: Evocacion
- Piano Playtime: No. 1: Waltz Of The Rainbow
- Piano Playtime: No. 4: By The Brook
- Piano Playtime: No. 5: Dancing Bagpipes
- Piano Playtime: No. 6: Tricky Trumpet
- Children's Corner: Dr. Gradus ad Parnassum
- Children's Corner: Jimbo's Lullaby
- Children's Corner: Serenade For The Doll
- Children's Corner: The Snow Is Dancing
- Children's Corner: The Little Shepherd
- Children's Corner: Golliwog's Cakewalk
- Toccata ostinato
Tracks:
- Sonata In G Minor, Op. 19: Lento; Allegro moderato
- Sonata In G Minor, Op. 19: Allegro scherzando
- Sonata In G Minor, Op. 19: Andante
- Sonata In G Minor, Op. 19: Allegro mosso; Meno mosso; Moderato; Piu vivo
- Sonata In F Minor, Op. 120, No. 1: Allegro appassionato
- Sonata In F Minor, Op. 120, No. 1: Andante un poco adagio
- Sonata In F Minor, Op. 120, No. 1: Allegretto grazioso
- Sonata In F Minor, Op. 120, No. 1: Vivace
- Sonata In D Minor, No. 3, Op. 108: Allegro
- Sonata In D Minor, No. 3, Op. 108: Adagio
- Sonata In D Minor, No. 3, Op. 108: Un poco presto e con sentimento
- Sonata In D Minor, No. 3, Op. 108: Presto agitato
Tracks:
- Piano Sonata (1941): Molto moderato
- Piano Sonata (1941): Vivace
- Piano Sonata (1941): Andante sostenuto
- Nocturne In E - Flat - Op 55, 2
- Mazurka In C - Op 33, 3
- Polonaise-Fantasie In A - Flat - Op 61
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: The Gnome
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: The Old Castle
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: Tuileries
- Pictures At An Exhibition: Bydlo
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: Ballet Of The Unhatched Chicks
- Pictures At An Exhibition: Samuel Goldenberg And Schmuyle
- Pictures At An Exhibition: Promenade
- Pictures At An Exhibition: Limoges - The Market
- Pictures At An Exhibition: Catacombs
- Pictures At An Exhibition: Con mortuis In lingua Mortua
- Pictures At An Exhibition: The Hut On Fowl's Legs
- Pictures At An Exhibition: The Great Gate At Kiev
- No 1 - Kinderszenen: About Foreign Lands And People
- Sonata In E (K 380) - L. 23
Tracks:
- Partita No. 4 In D Major, BWV. 828: Allemande (Beginning)
- Sonata No. 10 In C Major, K. 330: 1. Allegro moderato (Beginning)
- Sonata No. 3 In B Minor, Op. 58: 1. Allegro maestoso (Beginning)
- Sonata No. 3 In B Minor, Op. 58: 3. Largo
- Mazurka In A Flat Major, Op. 17, No. 3
- Sonata No. 3 In D Minor, Op. 108: 2. Adagio
- No. 4, Songs Without Words, Op. 67: Spinning Song
- Interview With William Kapell
Amazon.com essential recording
Blessed with transcendent technique and an affinity for big, bold Romantic works, William Kapell has been hailed as America's greatest homegrown pianist. This comprehensive collection of his complete recorded output, previously unreleased recordings, and broadcast tapes adds luster to a reputation that's become legendary since his tragic death in a plane crash at age 31. The earliest recordings, from the mid-1940s, bristle with raw energy and virtuosic flourishes tempered by an innate musicality that rises above mere display.The disc coupling Khachaturian and Prokofiev concertos is charged with excitement; the Rachmaninoff pairing of the Paganini Variations and the Concerto No. 2 weds the Grand Romantic style to poetic lyricism; and an inspired Liszt group is charged with dynamic energy. Best may be the two Chopin discs: spontaneous, rhythmically flexible sonatas and mazurkas. The later recordings demonstrate the repose that comes with artistic maturity, and the "live" broadcasts reveal Kapell's warmth and spontaneity in concert. Splendid transfers help make this long-awaited set appealing to music lovers in general, as well as piano buffs. --Dan Davis
Customer Reviews:
Very touched.......2006-09-24
In Memorium.......2005-10-29
A few years later, in the middle 50's, I bought Kapell's recording of the same work, with Fritz Reiner and the Robin Hood Dell Orchestra (alias of The Philadelphia Orchestra). I still have that LP, though I wore it out long ago. It was the beginning of my musical education. But since 1998, we have had this wonderful box of reissues from the vaults of RCA. The sound is mostly excellent, considering the age of the monophonic originals. To this day, Kapell's Rachmaninov Rhapsody remains-in my opinion-the most impassioned, yet the most musical, reading of the piece ever recorded. No one had, or has, Kapell's combination of white-hot temperament, technical brilliance, and musical insight. We have had musical geniuses; technical wizards abound. It is the combination of these gifts, as Kapell possessed them in particular, married to his incendiary passion, that made him unique.
He was still learning, and he was learning at such an astounding rate! He had moved from Khachaturian to the most unforgettable Chopin B minor Sonata ever recorded in little more than a decade. His deep throated, noble, and articulate Bach has caused some to speculate that Glenn Gould might have found his inspiration in Kapell. One Gould biographer, and a New York critic, wrote that the reverse was true. The critic acknowledged the error, in print, noting that Kapell could not have been influenced by Gould's style since he had been dead for two years by the time of Gould's debut recital in New York City in 1955.
The lyrical side of romantic music is not what Kapell was or is known for, not his "style" as people remember him now. But listening to the lyrical music in this set shows a side of him that was, nevertheless, as real as any, and perhaps more revealing. It also gives us a notion of what we might have expected of William Kapell had he lived a normal span of years and played a normal variety of music. In a live performance, he plays Chopin's Nocturne, Op. 9, No. 1, with melting legato and exquisite timing: his innate sense about when to tug on the beat and when to surge forward makes the music breathe. His use of dynamic variety demands the greatest respect: at one point, the repetition of a melodic phrase is but a pale echo of its first statement. His tonal palette is no less wondrous. When a deep bass note suddenly appears, early in the A section of the ABA structure, it sounds-not loud nor quiet, not muffled nor distinct-but awesomely subterranean. Kapell begins the piece without much sustaining pedal, but in the B section, he subtly adds more and more. Then, when the A section returns near the end, the pedal disappears. This dramatic change in color-along with Chopin's change of key-seems like the parting of clouds. We are in the hands of two masters here, Chopin and Kapell. Kapell gave this performance in Carnegie Hall in February of 1945, when he was twenty-two years old.
In the Bach and Chopin works I've discussed, the steely, percussive tone that some speak of is nowhere to be heard. Rather, we hear a full, rich, and complex piano tone. In the Chopin Sonatas, the Debussy pieces, and the Schubert, Schumann, Mendelssohn, Debussy, and Albeniz, the sound Kapell produces is beautiful and varied.
He was a chamber musician of the first order, as his collaborations with Heifetz prove. (He was one of the very few musicians who had the force of personality to make Heifetz accompany HIM. And you can hear it.) And if you've never heard Rachmaninov's great Cello Sonata, played here with the grand Russian/German cellist Edmund Kurtz, you're in for a treat. There are several fine, modern stereo recordings, but this one is special. The piano part is very important-Rachmaninov did write it, after all-and Kapell is magnificent. This was Rachmaninov's next published work after the 2nd Piano Concerto, to give you an idea of its melodic grandeur. If there is a flaw here, it is that the piano is recorded too far back, relative to the cello.
Kapell died on October 30, 1953. He had just turned thirty-three. He played his last recital in Geelong, Australia, on the 22nd. It included the Chopin 2nd Piano Sonata which contains the well-known "Marche funèbre." That performance is included here, transferred from the original acetates. It is a great performance but very hard to listen to now, in light of what was to follow just over a week later. I am writing this one day short of the 52nd anniversary of Kapell's death. Had he lived until today, he would be younger than either Earl Wild or Ivan Moravec, both of whom are still making magnificent music. For those of us who love William Kapell's music, it is heartbreaking to consider, and fruitless. Thank Heaven we have recordings like the ones in this set. They are essential for any lover of good music.
John Pendley
Priceless Souvenirs from a Rare Genius: Ave Atque Vale.......2005-10-28
William Kapell is still considered by most as the America's greatest pianist, even fifty odd years after his death at the age of 31 in a plane crash. Those who heard him perform still rhapsodize over the magic he created. Those of us who are left with only recordings, such as this spectacular boxed set of all of his recordings, can only be uplifted by the man's genius, his extraordinary technical facility, and his intuitive, profound approach to the great works of music.
All styles of music were easily accessible to Kapell. Listen to the Mozart, Bach, Scarlatti, Paganini and Mendelssohn and try to imagine performances of more clarity and finesse than these. His Chopin is well represented in this set and glows with the uncanny power and tenderness that Chopin combined in his works. His works for solo piano by Rachmaninov and Shostakovich are the gold standard, and yet his Schubert, Schumann, Brahms, Mussorgsky and Liszt raise the bar for excellence that has since not been excelled. Joyously this set includes concerti including Prokofiev, Beethoven, Khachaturian, and Rachmaninov with the various conductors who saw Kapell's gifts and championed them.
The memory of this great artist is felt throughout the year, but never as acutely as on October 29th which marks the date of his cruel death. The world was brightened for too short a time by William Kapell, yet because of his recorded legacy his legend lives on. This is an impossibly fine box set of treasures. Highly Recommended. Grady Harp, October 05
Poetry without words.......2004-12-14
What Is Technically Difficult Is Not Always Pleasant To Hear.......2004-10-02
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Mahler - The Complete Symphonies / LPO, Tennstedt
Lucia Popp , London Philharmonic Orchestra , Elizabeth Connell , Edith Mathis , David Hill , Jorma Hynninen , Trudeliese Schmidt, Richard Versalle, Edith Wiens Doris Soffel , Hans Sotin , Nadine Denize , and Ladies of London Philharmonic Chorus Southend Boys' Chor Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Mahler
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ASIN: B00000C2KM Release Date: 1998-11-03 |
Tracks:
- Symphony No. 1 In D Major: 1. Langsam. Schleppend - Im Anfang Sehr Gemachlich
- Symphony No. 1 In D Major: II: Kraftig bewegt, doch nicht zu schnell
- Symphony No. 1 In D Major: III: Feierlich und gemessen, ohne zu schleppen
- Symphony No. 1 In D Major: IV: Sturmisch bewegt
- Symphony No. 2 In C Minor 'Resurection': I: Adagio maestoso
Tracks:
- Symphony No. 2 In C Minor 'Resurrection': II: Andante moderato
- Symphony No. 2 In C Minor 'Resurrection': III: In ruhig fliessender Bewegung
- Symphony No. 2 In C Minor 'Resurrection': IV: Urlicht (Sehr feierlich aber schlicht)
- Symphony No. 2 In C Minor 'Resurrection': V: Im Tempo des Scherzos (Wild herausfahrend) - Langsam - Allegro energico - Langsam
Tracks:
- Symphony No. 3 In D Minor: Erste Aabteilung: I: Kraftig. Entschieden
- Symphony No. 3 In D Minor: Zweite Abteilung: II: Tempo di Menuetto. Sehr massig
- Symphony No. 3 In D Minor: Zweite Abteilung: III: Comodo. Scherzando. Ohne Hast
- Symphony No. 3 In D Minor: Zweite Abteilung: IV: Sehr Langsam. Misterioso. Durchaus ppp
- Symphony No. 3 In D Minor: Zweite Abteilung: V: Lustig im Tempo und keck im Ausdruck
Tracks:
- Symphony No. 3 In D Minor: Qweite Abteilung: VI: Langsam. Ruhevoll. Empfunden.
- Symphony No. 4 In G Major: I: Bedachtig. Nicht eilen
- Symphony No. 4 In G Major: II: In gemachlicher Bewegung. Ohne Hast
- Symphony No. 4 In G Major: III: Ruhevoll
- Symphony No. 4 In G Major: IV: Sehr behaglich
Tracks:
- Symphony No. 5 In C Sharp Minor: I: Trauermarsch
- Symphony No. 5 In C Sharp Minor: II: Sturmisch bewegt, mit grosster Vehemenz
- Symphony No. 5 In C Sharp Minor: III: Scherzo: Schattenhaft
- Symphony No. 5 In C Sharp Minor: IV: Adagietto: Sehr langsam
- Symphony No. 5 In C Sharp Minor: V: Rondo-Finale: Allegro
Tracks:
- Symphony No. 7 In E Minor: I: Langsam - Allegro
- Symphony No. 7 In E Minor: II: Nachtmusik I: Allegro moderato
- Symphony No. 7 In E Minor: III: Scherzo: Schattenhaft
- Symphony No. 7 In E Minor: IV: Nachtmusik II: Andante amoroso
Tracks:
- Symphony No. 7 In E Minor: V: Rondo - Finale: Tempo I (Allegro ordinario) - Tempo II (Allegro moderato ma energico)
- Symphony No. 6 In A Minor: I: Allegro energico, ma non troppo. Heftig aber markig
- Symphony No. 6 In A Minor: II: Scherzo Wuchtig
- Symphony No. 6 In A Minor: III: Andante moderato
Tracks:
- Symphony No. 6 In A Minor: IV: Finale: Allegro moderato
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Veni, creator spiritus
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Imple superna gratia
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Infirma nostri corporis
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Accende lumen sensibus
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Veni, creator spiritus
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Gloria, Patri Domino
Tracks:
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Waldung sie schwankt heran
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Ewiger Wonnerbrand
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Wie Felsenabgrund mir zu Fussen
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Gerettet ist das edle Glied
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Uns bleibt ein Erdenrest
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hier ist die Aussicht frei
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hochste Herrscherin der Welt
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Ausserst langsam. Adagissimo: Dir, der Unberuhrbaren
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Bei der Liebe, die den Fussen
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Neige, neige, du Ohnegleiche
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Blicket auf zum Retterblick
- Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Alles Vergangliche
Tracks:
- Symphony No. 9 In D Minor: I: Andante comodo
- Symphony No. 9 In D Minor: II: Im Tempo eines gemachlichen Landlers. Etwas tappisch und sehr derb
- Symphony No. 9 In D Minor: III: Rondo-Burleske: Allegro assai. Sehr trotiz
Tracks:
- Symphony No. 9 In D Minor: IV: Adagio: Sehr langsam und noch zuruckhaltend
- Symphony No. 10 In F Sharp Minor: I: Adagio
Amazon.com
Hot on the heels of DG's new reissue of the Bernstein's complete Mahler symphonies and song cycles, EMI has repackaged Klaus Tennstedt's recordings of all 10 symphonies. Although he remade symphonies 5 through 7, these are his first versions, essentially the same performances that used to be available in three separate boxes at mid price. Now at budget price, and at virtually a third of the cost of DG's Bernstein set, Tennstedt's Mahler is one hell of a bargain. The performances aren't as consistent as Bernstein's. The London Philharmonic was never a great Mahler orchestra, and minor errors are fairly common, especially in the Sixth Symphony, which was the conductor's own favorite among all his recordings despite the lapses in the brass section. It's a performance of frightening intensity, and it's easy to understand his affection for it. All of Tennstedt's Mahler features such spontaneity, emotional honesty, and real human warmth that reservations about execution and sound largely fall by the wayside. Hearing it again is a deeply moving experience. --David HurwitzCustomer Reviews:
Mostly fine but somewhat uneven.......2007-04-26
Some comments of each recording.
Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.
Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.
Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).
Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).
Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.
Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).
Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).
Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.
Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.
The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.
Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.
Classic Sound of Mahler from LPO.......2005-09-30
Personally, I enjoy this CD set of Symphony 1, 5, 6, 8 and 9
IMHO best Mahler performe........2005-07-25
Tennstedt's Mahler Cycle: A Best Buy.......2005-03-19
On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.
My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.
The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).
So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).
Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:
#1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.
#2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).
#3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).
#4. Horenstein (Chief CD) and Kletzki (EMI) now strike me as the finest stereo readings. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.
#5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.
#6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).
#7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. I also treasure the Horenstein despite its poor execution (better heard on a Descant CD than on BBC or M&A). Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.
#8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.
#9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.
#10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.
Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).
This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.
Challenging, Sensitive, Sincerely Committed Performances........2004-04-05
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Percy Grainger: The Complete Piano Music
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ASIN: B0000037AX Release Date: 1997-11-18 |
Tracks:
- Handel In The Strand
- Bridal Lullaby
- English Waltz
- Mock Morris
- To A Nordic Princess
- In A Nutshell-Ste: I. Arrival Platform Humlet
- In A Nutshell-Ste: II. Gay But Wistful
- In A Nutshell-Ste: III. Pastoral
- In A Nutshell-Ste: IV. 'The Gum-Suckers' March
- Peace
- Saxon Twi-Play
- Andante Con Moto
- Children's March
- The Immovable Do
- Sailor's Song
- Colonial Song
- Walking Tune
- Harvest Hymn
- In Dahomey
Tracks:
- b flat Pno Con (Opening)
- Cradle-Song
- Love Walked In
- Second Pno Con (3rd Movt)
- Now, O Now, I Needs Must Part
- Nimrod
- Ramble On The Last Love-Duet
- Chinese Melody-Beautiful Fresh Flower
- Paraphrase On The Flower Waltz
- Lullaby From 'Tribute To Foster'
- American Song-The Rag-Time Girl
- 'Blithe Bells'
- Fugue In a
- The Man I Love
Tracks:
- Country Gardens
- The Merry King
- Molly On The Shore
- Irish Tune From County Derry
- Knight And Shepard's Daughter
- The Nightingale And The Two Sisters
- Jutish Medley
- Sussex Mummers' Christmas Carol
- The Rival Brothers
- Near Woodstock Town
- Will Ye Gang To The Hielands, Lizzie Lindsay
- The Brisk Young Sailor
- One More Day My John (Easy Version)
- Rimmer And Goldcastle
- Spoon River
- The Widow's Party
- The Hunter In His Career
- My Robin Is To The Greenwood Gone
- Died For Love
- Scotch Strathspey
- One More Day My John (Complex Version)
- Bristol Town
- Hard-Hearted Barb'ra Helen
- Mo Ninghean Dhu
- Lisbon (Dublin Bay)
- Stalt Vesselil
- O Gin I Were Where Gowrie Rins
- Shepard's Hey
Tracks:
- Four Irish Dances: I. A March-Jig
- Four Irish Dances: II. A Slow Dance
- Four Irish Dances: III. The Leprechaun's Dance
- Four Irish Dances: IV. A Reel
- Nell
- Apres Un Reve
- Pno Con, First Movt
- Tiger-Tiger
- Air And Dance
- Hornpipe
- Toccata And Fugue in d
- Lullaby From 'Tribute To Foster' (Easy Grainger)
- Angelus Ad Virginem
- Klavierstuck in E
- Eastern Intermezzo
- The Bigelow March
- Pno Con, First Movt
- At Twilight
- Klavierstuck in a
- Klavierstuck in B Flat
- Klavierstuck in D
Tracks:
- Children's March: 'Over The Hills And Far Away'
- Up-Country Song (Colonial Song)
- English Dance
- Ye Banks And Braes O' Bonnie Doon
- 'Spoon River'-American Folk Dance
- Train Music
- Zanzibar Boat-Song
- Paganini Varations, No.12
- Green Bushes-Passacaglia On An English Folksong
- William Byrd's Air And Variations For The Virginals 'The Carman's Whistle'
- 'A Dance Rhapsody'
- Girl Crazy: Embraceable You
- The Warriors-Music To An Imaginary Ballet
Customer Reviews:
Every last note..........2006-06-14
Every last note!
The shipping alone would be $17.00+ for the 5 individual Cds.
Englishman Martin Jones plays these as if he wrote them. He is thoroughly inside this music.
I think his best work to date.
He is joined on CD #5 by Richard Mcmahon and Phillip Martin. Where they rollick in various combos and trios on 1, 2 and 3 pianos. This is exhilerating. Especially on an truly uplifting version of Green Bushes.
The entire set is strongly idiomatic and given a clear, crisp, warm and spacious recording. FIRST CLASS sound.
There are too many highlights to single out, but the In A Nutshell Suite and Green Bushes are especially GOOD!
There is not a bad note or "vibe" on any of these CDs.
Highly recommended for Granger fans and fans of English Piano Music.
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The Big Bang: In the Beginning Was the Drum
Various Artists Manufacturer: Ellipsis Arts ProductGroup: Music Binding: Audio CD General
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ASIN: B0000059TB Release Date: 1994-10-28 |
Tracks:
- Monkey Business (Excerpt) - Bernie Krause
- Rhythms Of The Cook Islands - Tumuenua
- Giovanni's Solo/Obatala - Batacumbele
- Village - Mino Cinelu/George Jinda
- Daitenryu - Suwa-Daiko Hozonkai
- Oshika - Mustapha Tettey Addy
- Rain - Glen Velez
- Over And Under A Theme Of Mark Isham's - Terry Bozzio
- Udu Chant - Mickey Hart
- A Quality Of Seven - Masters Of Percussion
- Ogun - Nurudafina Pili Abena
- Jimdance - Tommy Hayes
- Awo - Gasper Lawal
- Hein-Sa - Reinhard Flatischler/Samul Nori
- Topsy Part III - Funhouse
- Amazon Days/Amazon Nights (Excerpt) - Bernie Krause
Tracks:
- Amazon Days/Amazon Nights (Excerpt) - Bernie Krause
- Water Drums 1 - Baka Forest People
- Limbadji Toko - Fatala
- Aruande - Dudu Tucci
- Tempest - Michael Shrieve
- N'Nang (Stranger) - The Voodoo Gang
- Sekatian Gilakan - Sekehe Gong Windu Karya Putpa
- Karn Evil 9 (Drum Solo) - Emerson, Lake & Palmer
- Old Man's Song - Airto Moreira
- Feliz Navidad - Patato
- Egurraren Kanta - Joxan Goikoetxea/Juan Mari Beltran
- Kassahwa - Stella Rambisai Chiweshe
- Fortress - Avo Chakhlasyan
- Puppet Show - Ming-Chun Puppet Troupe
- Chang On Jew's Harp - Misri Khan
- Amazon Days/Amazon Nights (Excerpt) - Bernie Krause
Tracks:
- Amazon Days/Amazon Nights (Excerpt) - Bernie Krause
- Ajaja - Babatunde Olatunji
- Hojita De Limon - Street Music
- Yamuna - Karnataka College Of Percussion/Dr. Raghavendra
- Patron Mousso - Farafina
- Dance - Jorge Reyes
- Wandenza - Amapondo
- Fuenyang Drum - Orchestra Of Chinese Central Music College
- Saa - Ladji Camara
- Intertribal Dance Song - LCO Soldier's Drum
- Last Chance To Stomp (Excerpt) - Jack Dejohnette
- Do Zarbi, Se Zarbi - Hossain Tehrani
- Drum Solo On The Zerbaghali - Malang And Mohammad Akram Rohnawaz
- Amazon Days/Amazon Nights (Excerpt) - Bernie Krause
Amazon.com
This excellent three-CD collection from Ellipsis Arts is a splendid introduction to world percussion. Several name world music artists appear here; Zakir Hussein, Airto Moreira, Babatunde Olatunji, and Mickey Hart all perform, and drummers Terry Bozzio and Jack DeJohnette appear as well. There's music from all over the world, including Japan, several regions of Africa, India, South America, China, and several others. The accompanying booklet is almost as interesting as the collection itself, detailing the origins of various pieces and the artists who perform them. -- Genevieve WilliamsCustomer Reviews:
Travel the world for a few dollars..........1999-03-10
The Djembé-darbouka guy !
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Philip on Film
Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD Glass, Philip
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ASIN: B00005O1EU Release Date: 2001-10-02 |
Tracks:
- Koyaanisqatsi - The Western Wind Vocal Ensemble
- Organic - The Western Wind Vocal Ensemble
- Cloudscape - The Western Wind Vocal Ensemble
- Resource - The Western Wind Vocal Ensemble
- Vessels - The Western Wind Vocal Ensemble
- Pruit Igoe - The Western Wind Vocal Ensemble
- The Grid - The Western Wind Vocal Ensemble
- Prophecies - The Western Wind Vocal Ensemble
Tracks:
- Serra Pelado - Joe Passaro
- The Title - Joe Passaro
- Anthem - Part 1 - Joe Passaro
- That Place - Joe Passaro
- Anthem - Part 2 - Joe Passaro
- Mosque And Temple - Joe Passaro
- Anthem - Part 3 - Joe Passaro
- Train To Sao Paulo - Joe Passaro
- Video Dream - Joe Passaro
- New Cities In Ancient Lands, China - Joe Passaro
- New Cities In Ancient Lands, Africa - Joe Passaro
- New Cities In Ancient Lands, India - Joe Passaro
- The Unutterable - Joe Passaro
- Caught! - Joe Passaro
- Mr. Suso #1 - Joe Passaro
- From Egypt - Joe Passaro
- Mr. Suso #2 With Reflection - Joe Passaro
- Powaqqatsi - Joe Passaro
Tracks:
- Dracula - Kronos Quartet
- Journey To The Inn - Kronos Quartet
- The Inn - Kronos Quartet
- The Crypt - Kronos Quartet
- Carriage Without A Driver - Kronos Quartet
- The Castle - Kronos Quartet
- The Drawing Room - Kronos Quartet
- 'Excellent, Mr. Renfield' - Kronos Quartet
- The Three Consorts Of Dracula - Kronos Quartet
- The Storm - Kronos Quartet
- Horrible Tragedy - Kronos Quartet
- London Fog - Kronos Quartet
- In The Theatre - Kronos Quartet
- Lucy's Bitten - Kronos Quartet
- Seward Sanatorium - Kronos Quartet
- Renfield - Kronos Quartet
- In His Cell - Kronos Quartet
- When The Dream Comes - Kronos Quartet
- Dracula Enters - Kronos Quartet
- Or A Wolf - Kronos Quartet
- Women In White - Kronos Quartet
- Renfield In The Drawing Room - Kronos Quartet
- Dr. Van Helsing And Dracula - Kronos Quartet
- Mina On The Terrace - Kronos Quartet
- Mina's Bedroom/The Abbey - Kronos Quartet
- The End Of Dracula - Kronos Quartet
Tracks:
- Ouverture - Gregory Purnhagen
- Les Soeurs - Gregory Purnhagen
- Le Damande En Mariage D'Avenant - Gregory Purnhagen
- Le Voyage Du Pere - Gregory Purnhagen
- Le Domaine De La Bete - Gregory Purnhagen
- Le Retour Du Pere - Gregory Purnhagen
- La Belle Va Au Chateau - Gregory Purnhagen
- Le Diner - Gregory Purnhagen
- Les Tourments De La Bete - Gregory Purnhagen
- Promenade Dans Le Jardin - Gregory Purnhagen
- Le Saisie Des Meubles - Gregory Purnhagen
- La Confiance De La Bete En La Belle - Gregory Purnhagen
- Belle Retourne Chez Son Pere - Gregory Purnhagen
- Belle Raconte Son Histoire - Gregory Purnhagen
- Le Plan - Gregory Purnhagen
- La Passion D'Avenant - Gregory Purnhagen
- La Magnifique Apparait - Gregory Purnhagen
- Le Miroir - Gregory Purnhagen
- La Pavillon - Gregory Purnhagen
- Le Metamorphose - Gregory Purnhagen
Tracks:
- The Beginning - Michael Riesman
- Perpetual Motion - Michael Riesman
- The Witness - Michael Riesman
- Sand Mandala - Gyuto Monks, Monks Of The Drukpa Order
- Projector - Gyuto Monks, Monks Of The Drukpa Order
- Escape To India - Gyuto Monks, Monks Of The Drukpa Order
- Mishima/Opening - Kronos Quartet
- Osamu's Theme: Kyoko's House - Kronos Quartet
- November 25: Ichigaya - Kronos Quartet
- Mishima/Closing - Kronos Quartet
- Secret Agent - The English Chamber Orchestra
- The First Meridian - The English Chamber Orchestra
- Trust - The English Chamber Orchestra
- End Credits - Michael Riesman
- The Man In The Bath - The Philip Glass Ensemble
- Facades - The Philip Glass Ensemble
- Diaspora - The Philip Glass Ensemble
Amazon.com
The best-known soundtracks of composer Philip Glass have stood the test of time extremely well. Today, we associate Koyaanisqatsi as much with Glass's vast soundscape as we do with director Godfrey Reggio's haunting images. Philip on Film gathers three complete Glass scores--Koyaanisqatsi, Powaqqatsi, and Dracula, along with selections from La Belle et la Bête, Anima Mundi, Kundun, Mishima, The Secret Agent, The Thin Blue Line, and a handful of short films.The Glass trademarks--those machinelike arpeggios; that familiar, if odd, electronic keyboard sound; the influence of non-Western vocal techniques--are all here. Glass has forged his own unmistakable style of epic-sounding minimalism, but it never gets stale. A few unreleased tracks on Philip on Film will serve hardcore Glass fans (who probably already own most of these works), including "Facades" from Godfrey Reggio's Evidence and a track each from Atom Egoyan's Diaspora and Peter Greenaway's The Man in the Bath. --Jason Verlinde
Customer Reviews:
SEVERELY ALTERED "Belle et la Bete".......2005-12-22
Reviewers are not looking at this correctly.......2003-04-03
Like both of the aforementioned box sets, the Philip on Film box set contains complete selections of a few recordings, some new material, and some other works stripped down (either by editing the tracks or by including a few complete tracks from each work). While this package could have easily been ten discs long, evidently Nonesuch was only interested in including those recordings which were featured on the Philip on Film Tour.
I encourage any new Glass listener to purchase this great set: it served as a superb intro to his works for me, as did the Adams and Reich sets.
A re-approach.......2001-12-10
This set of discs is something you might pick up at a live concert of your favorite local band, representing what they played that night in studio recording. This set of discs was released to accompany Philip's current world tour of Philip On Film. Although almost all of it has been released previously, this isn't just a way to make a "quick buck". This is a great way to get most of the music played at these performances and, most of all, is a bargin way to get a lot of his best music to date. I also don't personally agree with the "highlights" idea with Belle and Mundi, but to a person wanting post-Einstein Glass, this is a good way to start. Also, I would think that anyone who believes that Glass has written the same music since Einstein needs to listen more and generalize less because there is a wealth of music out there that you may not realize exists.
The Worst of Phil?.......2001-10-30
More of the same.......2001-10-17
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Love Story
Dee Daniels Manufacturer: Three X.D. Music ProductGroup: Music Binding: Audio CD General
| Jazz
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ASIN: B00004YNIK Release Date: 2000-01-01 |
Tracks:
- Skylark
- I Could Have Danced All Night
- Tenderly
- Let's Fall in Love
- My Romance
- Masquerade Is Over
- What Is This Thing Called Love
- I'll Be Seeing You
- There'll Be Some Changes Made
- That's Life
Average customer rating:
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Toscanini Conducts Verdi's Falstaff
Merriman , Nelli , Stich-Randall , Scott , and Toscanini Manufacturer: Music & Arts Program ProductGroup: Music Binding: Audio CD All Works by Verdi
| Verdi, Giuseppe
| ( V )
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| Classical
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General
| Classical
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Toscanini, Arturo
| ( T )
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Italian
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ASIN: B00002MXO5 Release Date: 2006-01-01 |
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Karajan: The Beginning Of A Legend (Box Set)
Manufacturer: Bci / Eclipse Music ProductGroup: Music Binding: Audio CD Dances
| Ballets & Dances
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Waltzes
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Cherubini, Luigi
| ( C )
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General
| Dvorák, Antonín
| ( D )
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All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
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All Works by Smetana
| Smetana, Bedrich
| ( S )
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Strauss Jr., Johann
| ( S )
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| Strauss Sr., Johann
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| Strauss, Richard
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| Verdi, Giuseppe
| ( V )
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| Wagner, Richard
| ( W )
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| Weber, Carl Maria von
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| Rossini, Gioacchino
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| Theatrical, Incidental & Program Music
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Tone Poems
| Theatrical, Incidental & Program Music
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Berlin Philharmonic Orchestra
| ( B )
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ASIN: B00000J889 Release Date: 1999-06-29 |
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Only the Beginning
Young Kay Manufacturer: Precious Jewel Entertainment ProductGroup: Music Binding: Audio CD General
| Rap & Hip-Hop
| Styles
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ASIN: B000CA8S5C Release Date: 2005-08-23 |
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