Amie & Other Hits

1. Amie

2. Boulder Skies

3. Early Morning Riser

4. Angel No. 9

5. Leave My Heart Alone

6. Falling in and Out of Love

7. Angel

8. Call Me, Tell Me

Tracks:

La Pastoura als Camps
Bail ro
Trois Bourr es
Pastourelle
L'Antou no
La Pastrouletta lou Chibali
La Dela ssado
Bour es
Lo Fiolair
Passo pel Prat
Lou Boussu
Brezairola
Malurous qu'o uno Fenno

Tracks:

Chants d'Auvergne: Jou l'pount d'o Mirabel
Chants d'Auvergne: Oi ayai
Chants d'Auvergne: Per l'efon
Chants d'Auvergne: Tchut, tchut
Chants d'Auvergne: Pastorale
Chants d'Auvergne: Lou Coucut
Chants d'Auvergne: Obal, din lo coumb
Chants d'Auvergne: Quand z'eyro petitoune
Chants d'Auvergne: Laut, sur le rocher
Chants d'Auvergne: HBeyla-z-y dau f
Chants d'Auvergne: Postouro, su m'aymo
Chants d'Auvergne: Uno jionto postouro
Chants d'Auvergne: Lou diziou b
Bachianas brasileiras: Aria (Cantilena)
Bachianas brasileiras: Dansa (Martelo)

Customer Reviews:

Simply beautiful.......2005-08-07

Kiri Te Kanawa has one of the most beautiful operatic voices and no cd displays this better than Canteloube: Chants d'Auvergne. These folk songs, sung in a french dialect, are sung perfectly by Kiri Te Kanawa. You do not need to understand the language to feel the emotions the songs evoke. This is a simply beautiful cd and Kiri is flawless.

Simply Sublime.......2004-02-27

What is it about these wonderful songs that tend to bring out the best in some of the world's finest sopranos?

There are so many fine recordings of these songs.

The great Frederica Von Stade recorded a quite mesmerizing selection of the Auvergne songs at about the same time as Dame Kiri. There is the lovely recording by the legendary Victoria De Los Angeles, a selection of the songs many of us grew up on.
There is the seminal first complete recording (and then some, as I recall) by the late Natania Davrath, a much under-appreciated artist who, in many ways, is responsible for the popularity these songs enjoy today. Even Anna Moffo recorded a lovely handful of the songs in the 60s conducted by no less than Leopold Stokowski!

And then there is Dame Kiri. We know her. We love her. We have come to expect the best from her. We have come to always expect more from her, in fact, than from just about anyone else.

So unfair. We expect her to jump the musical hurdles of our emotional connections to music and art in a way we expect from few others.

And yet she so seldom disappoints. Is this the absolute best recording of the Chants d'Auvergne ever? Such a personal choice. Who is to say?

I can tell you this, once I heard this truly remarkable set, which has literally sent chills up my back since the the first time I heard it all those years ago, I knew my search for the recording of these songs I would keep near me forever was over.

Here is an interpretation combining, in equal measure, patrician elegance with almost peasant-like eloquence. She renders song after song, some deceptively complicated, with a divine simplicity that simply defies the imagination.

I don't know how Dame Kiri achieved this miraculous feat. It must have come from the heart, because it certainly goes to mine.

And finally, it would be unthinkable not to give credit to the exquisite playing of the English Chamber Orchestra and the always sensitive collaboration of conductor Jeffrey Tate.

LUSH AND PASSIONATE!.......2003-03-09

These traditional songs from the Auvergne region of France, arranged and orchestrated by Joseph Canteloube, are so intensely beautiful that when I requested a classical radio station to play some of them, motorists stopped on the highway to phone in their thanks.

I first heard a selection of these songs 30 years ago, performed by Anna Moffo, and fell in love with them. It's wonderful to find a complete recording of all 5 series on this 2 CD set, sung by Kiri te Kanawa with enormous talent and verve. Whether the mood is passionate, playful, mocking, tender, mournful or-an emotion few composers have ever captured-helpless with pleasure, these pieces have one thing in common: they are the work of a master orchestrator at the height of his powers, using the fullest resources of the modern orchestra. You will not find more beautiful music than this!

Beautiful!.......2001-08-28

In my opinion, this is one of Kiri's better recordings. Her voice, while always gorgeous, is fresh and light here, and her interpretation, while not riveting, is certainly not boring. Musically, this is a wonderful collection, very romantic and lush in sound. A very worth-while recording.

Only Kiri.......2001-07-13

Dame Kiri te Kanawa has just the voice and character to make this music live. Her voice has a spiritual quality (as opposed to a human quality) that suits the fantasy and seductive qualities of the music. However, her characterization is not void of human qualities, a reminder that these are human feelings. The orchestra under Jeffrey Tate copes very well with the virtuosic writing for woodwinds and stratospheric strings. I heard Renee Fleming's recent interpretation of Bailero and the characterization was more human. Their voices are quite similar, but if you want angelic qualities, Kiri is the angel.

Average customer rating:

Unique
A classic performance

Music of the Gothic Era
Geoffrey Shaw , David James , David Munrow , and Early Music Consort of London
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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Perotin / The Hilliard Ensemble
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The Art of Courtly Love - David Munrow & The Early Music Consort of London
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Sinners & Saints: The Ultimate Medieval and Renaissance Music Collection

ASIN: B00006L3IE
Release Date: 2002-10-08

Tracks:

Viderunt Omnes - David Munrow
Alleluya Pascha Nostrum - Martyn Hill
Gaude Maria Virgo - David Munrow
Locus Iste - Charles Brett
viderunt Omnes - Martyn Hill
Sederunt Principes - David Munrow
Alle, Psallite Cum Luya, 3 Voc. - Martyn Hill
Amor Potest, 3 Voc. - Martyn Hill
S'on Me Regarde, 3 Voc. - Martyn Hill
In Mari Miserie, 3 Voc. - Martyn Hill
On Parole De Batre, 3 Voc. - James Bowman
En Mai Quant Rosier Sont Flouri, 3. Voc. - Martyn Hill
Dominator Domine, 3 Voc. - Martyn Hill
El Mois De Mai, 3 Voc. - Martyn Hill
O Mitissima, 3 Voc. - James Bowman

Tracks:

Hoquetus I-VII, 3 Voc. Neuma-Virgo-In Seculum Longum-In Seculum Viellatoris In Seculum Breve-Seculum D'Amiens Longum-In Seculum - David Munrow
Aucun Ont Trouve, 3 Voc. - David Munrow
De Ma Dame Vient, 3 Voc. - Martyn Hill
J'os Bien A M'amie Parler, 3 Voc. - James Bowman
La Mesnie Fauveline, 3 Voc. - David Munrow
Quant Je Le Voi, 3 Voc. - Martyn Hill
Zelus Familie, 3 Voc. - Martyn Hill
Quasi Non Ministerium, 4 Voc. - David Munrow
Impudenter Circumivi, 4 Voc. - David Munrow
Cum Statua, 3 Voc. - James Bowman
Pantheon Abluitur, 5 Voc. - James Bowman
Clap, Clap, Par Un Matin, 3 Voc. - Martyn Hill
Ida capillorum, 4 Voc. - James Bowman
Rachel Plorat Filios, 3 Voc. - Martyn Hill
Les I'ormel A La Turelle, 3 Voc. - Martyn Hill
O Philippe, Franci Qui Generis, 3 Voc. - James Bowman
Febus Mundo Oriens, 3 Voc. - Martyn Hill
Lasse! Comment Oublieray, 3 Voc. - Martyn Hill
Qui Es Promesses, 3 Voc. - James Bowman
Hoquetus David, 3 Voc. - David Munrow
Christe, Qui Lux Es, 4 Voc. - James Bowman
Degentis Vita, 4 Voc. - Martyn Hill
Inter Densas Deserti Meditans, 3 Voc. - Martyn Hill
Rex Karole, Johannis Genite, 5 Voc. - James Bowman

Customer Reviews:

Unique.......2006-02-07

This is early vocal music very much in the style currently heard in groups like the Hilliard Ensemble and Tallis Scholars. It is very spacious-sounding and solemn, which makes sense- most of the music that we have preserved from hundreds of years ago was written for use in the church. Fortunately, the gravity of the works never stops this set from being thoroughly enjoyable, too. Archiv's sound is, as always, very good.

A classic performance.......2003-02-28

This recording remains a classic, even if (as Daniel Leech-Wilkinson points out in his accompanying notes) some of Munrow's performance practices may be disputed today. This is, quite simply, a wonderful performance and a terrific sounding recording (even after nearly 30 years)--and a wonderful way to develop an ear for the music of the 13th and 14th centuries.

Average customer rating:

Sure, Another Cup of Relaxation, Please!
The Best of Chip Davis
The Best of Chip Davis
Simply Relaxing
Exactly what you'd expect from Chip Davis.

Sunday Morning Coffee II: Day Parts
Richard Burmer , Amie Roth , and John Archer
Manufacturer: American Gramaphone
ProductGroup: Music
Binding: Audio CD

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Sunday Morning Coffee
Romance
Romance II
Party 2: Music That Cooks
Chip Davis' Day Parts: Dinner

ASIN: B0000005LA
Release Date: 1994-04-08

Tracks:

Sunday Morning Breeze - Chip Davis
Sunday Sunrise - Doug Smith
Consolation In D-Flat - Jackson Berkey
Meadow Drive - Richard Bumer
Largo From Winter The Seasons By Vivaldi - Amie Roth
Lost In The Travel Section - John Archer
Sicilienne, Opus 78 - Jackson Berkey
Downstream - Richard Bumer
October - Michael Hoppe
Ante Meridiem - Doug Smith
Giga From Suite By Corelli - Amie Roth
Month Of Sundays - John Archer
The Partting - Michael Hoppe
Chocolate Coffee - Chip Davis

Customer Reviews:

Sure, Another Cup of Relaxation, Please!.......2004-02-05

Another cup of Sunday Morning Coffee, with the same group of composers/musicians who turn out another satisfying collection of music to calm out with.

I especially have become attracted to Smith's "Sunday Sunrise" and Berkey's "Consolation in D-flat." Truly gifted artists, this stuff is serene and mellow and full of good vibes.

Curl up with this, some good hot coffee, maybe your lover and enjoy!

The Best of Chip Davis.......2002-06-18

This is an outstanding CD; my wife and I have not been able to find its match in other Chip Davis works. It is not New Age, although that is the category in which you will frequently find it. It is a varied collection of instrumental pieces, but the selection of pieces is probably as important as the delivery. Great for Sunday morning, or any other time you want to relax to good music!

The Best of Chip Davis.......2002-06-18

Simply Relaxing.......2001-12-27

This is a CD that works for every occassion. I was bothered, when searching for it in a local record store, by the fact that it was labled with New Age music. Folks, this is great soft jazz. Not wood winds or brass, rather piano and guitar which comes in an autumn breeze through an open window. I had never heard of Chip Davis much less the other artists but it was recommened to me as a junior in college, and 11 years later it still gets its spin on a monthly basis. Not a bad song on the disc.

Exactly what you'd expect from Chip Davis........1999-10-20

Every selection is one morning reflection after the other. A day of rest, the morning paper, a cup of coffee and thoughts of wonderful things floating in and out of your mind as you settle in and muse on a Sunday morning --- or any other morning for that matter. This is music for the pensive, aesthetic in all of us.

Average customer rating:

Great Voice
Florez shines in enticing variety, versatility of repertoire
Third album by Florez
Florez in another dazzling disc!
Muy bien cantado...Pero falta algo

Great Tenor Arias

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Juan Diego Florez ~ Rossini Arias
Una Furtiva Lagrima
Sentimiento Latino
Sentimiento Latino
Rossini - Il Barbiere Di Siviglia / Juan Diego Florez, Maria Bayo, Pietro Spagnoli, Ruggero Raimondi, Bruno Pratico, Gianluigi Gelmetti, Madrid Opera

ASIN: B0002K6ZWU
Release Date: 2004-09-14

Tracks:

J'ai Perdu Mon Euridice
Pietoso Al Lungo PiantoAlfin M'arride Amore...Deh! Lasciate A Un'Alma Amante
La Speranza Piu Soave Gia Quest'Alma Lusingava
Eccomi Finalmente...Feste? Pompe? Omaggi? Onori?
Loin De Son Amie Vivre Sans Plaisirs
Languir Per Una Bella
La Donna E Mobile
Pria Che Spunti In Ciel L'aurora
Com'e Soave Quest'Ora Di Silenzio Al Mio Dolente Cor... Anch'io Provai Le Tenere Smanie D'un Puro Amore
Avete Torto!...Firenze E Come Un Albero Fiorito

Amazon.com

Here the remarkable young Peruvian tenor Juan Diego Florez not only offers us what we've become accustomed to---gorgeous, graceful singing of very difficult bel canto gems (in this case, high-flying, virtuosic arias from Rossini's Semiramide and L'Italiana in Algeri. He also ventures into unknown waters. He sings an aria added by Donizetti for an Italian production of The Daughter of the Regiment ("La figlia" rather than the usual "La fille") which turns out to be just right for his voice, and he charms with his crisp diction and youthful approach. Paolino's aria from Cimarosa's Il matrimonio segreto is a substantial piece of bel canto writing, with some nice coloratura fireworks near the end which Florez sails through with ease, and Rinuccio's ditty from Puccini's Gianni Schicchi---perhaps the most heavily orchestrated piece he's sung and stylistically the opposite of anything else on the CD---is also tossed off with true élan. On the other hand, Florez has a lot to learn about the Gluckian style, judging from his Romantic approach to Orphée's aria, and his French could use some brushing up if he's going to sing anything from Halévy's La Juive, although the vocal hurdles that the composer put in the tenor's way do not seem to bother him at all. A surprising disappointment is "La donna e mobile," which is over-sung and charm free. But can any tenor around be expected to sing all of these (and a few others, too) perfectly? Florez remains a true delight, his sound beautiful, his production easy from top to bottom. Despite reservations, highly recommended. --Robert Levine

Customer Reviews:

Great Voice.......2007-05-13

This young tenor is a worthy successor to Carreras, he will be a superb singer.

Florez shines in enticing variety, versatility of repertoire.......2005-03-14

An altogether delightful disc. The arias on here that do not require heavy pryotechnics are delightful and reveal a very pleasant insouciance of tone and character that are very fitting, only very intermittently offset by a slight hardness of tone on top. The aria from Semiramide and cabaletta to the charming Cimarosa aria serve up the fireworks, so common on the first disc and perhaps the one that followed it, for those listeners who are attracted to this disc by having heard especially the first and highly brilliant all-Rossini outing. Rossini is also well represented here by a charming romanza and lively cabaletta from Italiana in Algeri.

Several rarities are included, unlike with the above, and he makes something very charming and inviting of the selection from Verdi's Un giorno di regno (Verdi's rarely performed comedic second opera). The alternate Italian aria from Fille du regiment is a welcome supplement to his having recorded the more famous aria for Tony on his second recital disc. The aria from Donizetti's Lucrezia Borgia (an easy equal to Lucia in inspiration) is also a highlight, Florez's insouciance of manner here particularly telling, as it has fatal consequences for his character and all this character's buddies in this opera. Eleazar's aria, or one of them, from Halevy's La Juive reveals the possibility of a little greater reach into repertoire that approaches the dramatic for this tenor - but one senses as well that he will and can, should take his time getting there. The tribute to Firenze from Gianni Schicchi at or toward the end of this recital is compelling enough to convince the most hardened travel cynic buying this disc to call the airlines/hotels, inns to book for there right away. The "Che faro" from Orfeo (but sung in French) is an ideal vehicle from which Florez can deliver such a sublime and heartfelt lament, as heard here, albeit a bit too closely recorded.

Carlo Rizzi, not always dependable, gives fine accompaniments here. The engineering does place the voice just a bit too forward, however, yet ironically a voice that has developed full body and better evenness than when his first all-Rossini disc was recorded (yet still certainly too early to tackle the part of Eleazer on stage as of yet), erasing any concerns I may have had at that time. For some readers, any problem with the sound quality here might demote this outing to four stars, but taking the singing, the interesting repertoire chosen for this disc, and the fine, deft accompaniments from Rizzi and the Verdi orchestra from Milan (some alternate band to Muti's peerless one at La Scala? - the endless nature of so much politics in music), have me sticking with five, and with a mind about several other vocal recital discs that have been getting rated too highly on this website.

Ditto. Just received credible correction from Vince Chau of one piece of misinformation I submitted here. The aria that Florez sings from La Juive belongs to the second tenor part of Leopold, not that of Eleazar. While I am on the subject of corrections of my reviews, he also had said that I had incorrectly challenged Gheorghiu's Laggiu nel Soledad for having ended on a high C. Not having been so graphic as that in how I describe what happened there, I had led him to believe and perhaps a few others that I was saying there was no high C in the aria at all, so I have just taken pains to fully explain the situation on the new Gheorghiu Puccini recital by thereby editing my review of it. I would not trade Gina Cigna's ONLY high C TOWARD the end of Laggiu nel Soledad for all the gold in Fort Knox, or Nilsson's or Tebaldi's ...

Third album by Florez.......2005-01-01

This, the young Peruvian tenor Juan Diego Florez' third album, includes more of the bel canto repertory with which he has risen to international fame. Hearing Lindoro's scene from L'Italiana in Algeri, to cite one example, will make the first-time listener realize why. The tenor's firm, even tone, agility in coloratura and secure high notes--all the way up to a solid high D in one selection--are still sources of wonder.

"Great Tenor Arias" also includes forays into other areas of the repertory, from operas which Florez has not yet sung and may never sing on stage. Indeed, one hopes that no one talks him into trying Verdi's Duke of Mantua any time soon--his rendition of "La Donna e Mobile" is solid, if a bit lacking in charm, but the entire role would surely overtax his vocal resources. Puccini's Rinuccio, from the evidence of Florez' take on the aria from Gianni Schicchi that concludes this somewhat short (less than an hour of music) CD, would be a more comfortable fit, but he is already too much of a marquee name to take on what is basically a supporting role.

If this CD as a whole leaves a slightly unsatisfying impression, it is because the experiments by Florez remain just that--vocal explorations rather than performances undertaken out of deep dramatic or musical conviction. In addition, some of the more obscure music, Cimarosa and early Verdi in particular, is not of the highest quality, and here Florez' comparative inability to characterize vocally becomes a liability. All in all, despite the outstanding singing, a newcomer to this tenor's art would probably be better served by starting with one of his two earlier albums, the first of Rossini, the second Bellini/Donizetti.

Florez in another dazzling disc!.......2004-11-25

Juan Diego Florez is definitely on a spin and that well-deserved
journey is the product of fine training, excellent coaching, and a keen sense of pacing in a career that tends to push the gifted ones too quickly. Though Florez' crowning gifts are in the bel canto repertoire, with this recording he just starts there and pushes into the range of more lyrical arias, and to these ears he succeeds in demonstrating how special is this beautiful voice.

Even the decision about lineup of arias on this fine recording is intelligent: Florez moves from Gluck, Cimarosa and Rossini into Donizetti, Verdi and Puccini with great ease. Here is a tenor who can belt out the high notes to please the balcony but who is equally sensitive to the diminuendos and barely audible phrases that mark the true artist.

Dashingly handsome, and physically as well as vocally a fine actor on stage, this CD simply further demonstrates that Juan Diego Florez is one of the brightest tenors before us today. It is interesting to see how many Latin American tenors are suddenly becoming so important - Villazon, Calleja, Alvarez, Florez, etc. Refreshing! GRady Harp, November 2004.

Muy bien cantado...Pero falta algo.......2004-11-07

JUAN DIEGO FLOREZ es sin duda alguna el mejor tenor de la actualidad en su repertorio (Rossini y ciertos roles belcantistas) y sus trabajos discograficos siempre consiguen los mas fervientes aplausos. Yo mismo, ya elogie en su dia aqui sus dos registros anteriores en solitario con este mismo sello.
Pero ahora, en este tercer trabajo, la magia no se produce de igual manera que las veces anteriores: la voz sigue estando ahi, bellisima y con un alarde de agudos bastante importante...Pero el repertorio no es el mas adecuado a la vocalidad de Florez, por lo que le ofrece escasas posibilidades de lucimiento. Un repertorio como este, en la voz de un tenor desconocido que comienza pudo haber sido interesante, pero en la voz de un tenor ya consagrado como es Florez, deja una sensacion de vacio bastante grave. Habra que esperar al cuarto (ya se anuncian "Canciones latinoamericanas" en lo que puede ser un interesante cambio de registrio) para ver si se vuelve a producir la magia.
CARLO RIZZI y la orquesta rinden a un buen nivel, mucho mayor que la orquesta y el director del disco anterior de Florez.

Average customer rating:

The Complete Caruso

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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The Complete Recordings, 1902-1920 (Box Set)
Rachmaninov: His Complete Recordings
Sibelius: The 7 Symphonies; Finlandia; Kullervo; etc.
Beethoven - Fidelio
Wagner - Lohengrin

ASIN: B0001TSWQO
Release Date: 2004-11-09

Joseph Canteloube: Songs Of the Auvergne

Average customer rating:

This is the real verison of the songs you should have

Joseph Canteloube: Songs Of the Auvergne

Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Canteloube - Chants d'Auvergne / Victoria de los Angeles
Joseph Canteloube: Chants d'Auvergne
Kiri Te Kanawa - Canteloube: Chants d'Auvergne, Villa-Lobos: Bachianas brasileiras
Canteloube: Chants d'Auvergne
Mozart: Concerto Nos. 21 & 24

ASIN: B0000ADXFP
Release Date: 2003-08-12

Tracks:

La Pastoura Als Camps
Bailero
Trois Bourrees: A. L'aio De Rotso, B. Ound' Onoren Gorda?, C. Obal, Din Lou Limouzi
Pastourello
L'Antoueno
La Pastrouletta E Lou Chibalie
La Delaissado
Deux Bourrees: A. N'aipas Jeu De Mio, B. Lo Cahle
Lo Fiolaire
Passo Pel Prat
Lou Boussu
Brezairola
Malurpus Qu' O Uno Fennol
Jou L'Pount D'o Mirabel
Oi, Ayai
Pour L'enfant
Chut, Chut
Pastorale
Lou Coucut

Tracks:

Obal, Din Lo Coumbelo
Quand Z'Eyro Petitoune
Le-haut, Sur Le Rocher
He! Beyla-z-y D'au Fe!
Postouro, Se Tu Me'aymo
Te, L'co, Te!
Uno, Jjonto Postour
Lou Diziou Be'
La Mere Antoine
Oh! Madelon, Je Dois Partir
Rossignolet Qui Chants
La Fille D'un Paysan
Comment Donc Savoir
Mon Pere M'a Plasee
Lorsque Le Meunier
O Up!
Le Premier De Tous Les Oiseux
Mo J'ai Un Homme
J'ai Un Douce Amie
Dans Le Tombeau
Allons, Beau Rossignol
Quand Marion Va Au Moulin
Reveillez-Vous, Belle Endormie

Customer Reviews:

This is the real verison of the songs you should have.......2005-07-03

I had the opportunity to hear Miss Davrath sing a collection of these songs when I was young and that experience has stayed with me for 40 years. The late Miss Davrath pioneered these songs before anyone else discovered these delightful classics. She is the only singer that does them with the correct dialect so they just might sound a little different then the incomplete versions by superstar divas. Get these, you won't be sorry even if you have other versions.

Love's Illusion-Music From The Montpellier Codex 13th Century

Average customer rating:

Excellent Rendition of Early Music. Buy It.
Fun and full of love
from a newcomer viewpoint
Love's Illusion
OUTSTANDING

Love's Illusion-Music From The Montpellier Codex 13th Century
Anonymous 4 , and Marsha Genensky
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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La Bele Marie: Songs to the Virgin from 13th-Century France

ASIN: B0000007E5
Release Date: 1994-08-23

Tracks:

Montpellier Codex: Plus Bele Que Flor - Quant Revient - L'autrier Joer - Flos Filius (Mo 21)
Montpellier Codex: Puisque Bele Dame M'eime - Flos Filius (Mo 231)
Montpellier Codex: Amours Mi Font Souffrir - En Mai - Flos Filius (Mo 111)
Montpellier Codex: Ne Sai, Que Je Die - Iohanne (Mo 185)
Montpellier Codex: Si Je Chante - Bien Doi Amer - Et Sperabit (Mo 311)
Montpellier Codex: Or Ne Sai Je Que Devenir - Puisque D'amer - Kyrieleyson (Mo 267)
Montpellier Codex: H? Dieus, De Si Haut Si Bas - Maubatus - Cumque (Mo 92)
Montpellier Codex: Celui En Qui - La Bele Estoile - La Bele, En Qui - Iohanne (Mo 20)
Montpellier Codex: Qui D'amours Se Plaint - Lux Magna (Mo 215)
Montpellier Codex: Amours, Dont Je Sui - L'autrier, Au Douz Mois - Chose Tassin (Mo 270)
Montpellier Codex: Au Cuer Ai Un Mal - Ja Ne M'en Repentirai - Jolietement (Mo 260)
Montpellier Codex: Quant Voi La Fleur - Et Tenuerunt (Mo 241)
Montpellier Codex: Quant Se Depart - Onques Ne Sai Amer - Docebit Omnem (Mo 131)
Montpellier Codex: Joliement - Quant Voi La Florete - Je Sui Joliete - Aptatur (Mo 34)
Montpellier Codex: Amor Potest Conqueri - Ad Amorem Sequitur (Mo 238)
Montpellier Codex: Ce Que Je Tieng - Certes Mout - Bone Compaignie - Manere (Mo 33)
Montpellier Codex: J'ai Si Bien Mon Cuer Assiz - Aucun M'ont - Angelus (Mo 128)
Montpellier Codex: Ne M'oubliez Mie - Domino (Mo 236)
Montpellier Codex: J'ai Mis Toute Ma Pensee - Je N'en Puis - Puerorum (Mo 255)
Montpellier Codex: Blanchete - Quant Je Pens - Valare (Mo 168)
Montpellier Codex: Dame, Qeu Je N'os Noumer - Amis Donc Est - Lonc Tans A (Mo 337)
Montpellier Codex: Li Savours De Mon Desir - Li Grant Desir - Non Veul Mari (Mo 323)
Montpellier Codex: Entre Copin - Je Me Cuidoie - Bele Ysabelos (Mo 256)
Montpellier Codex: S'on Me Regarde - Prenn?s I Garde - H?, Mi Enfant (Mo 223)
Montpellier Codex: Quant Yver La Bise Ameine - In Seculum (Mo 223)
Montpellier Codex: Ne M'a Pas Oubli? - In Seculum (Mo 207)
Montpellier Codex: On Doit Fin[e] Amor - La Biaut? - In Seculum (Mo 134)
Montpellier Codex: Ja N'amerai Autre Que Cele - In Seculum (Mo 3)
Montpellier Codex: Quant Je Parti De M'amie - Tuo (Mo 200)

Amazon.com essential recording

How's this for a concept: "True love may exist only outside of marriage, and a man must subject himself totally to the will of his beloved, whether or not her requests seem rational." If you think these ideas strange, be glad you weren't looking for love in France in the Middle Ages. These precepts course through thousands of song lyrics and love poetry during the 12th and 13th centuries and some of them appear on this exceptional recording by Anonymous 4. Specifically, these four women perform 13th century French motets found in an important manuscript known as the Montpellier Codex. These polyphonic works span the entire century and thus express a variety of styles. Sometimes the use of texts is striking, as when a love song, a diatribe against hypocrisy, and a rousing drinking song are sung simultaneously. Not bad, if you can get away with it. Anonymous 4 can-and does. --David Vernier

Customer Reviews:

Excellent Rendition of Early Music. Buy It........2005-10-29

`Love's Illusion' is the third album done by the medieval vocal quartet, `Anonymous 4' and the first recording for them of secular motets, although it is important to note that to my relatively uneducated ear, I find it hard to discern the difference between these French love songs and their renditions of medieval church music.

This is not to say I have a totally tin ear but rather to indicate that there is as strong or stronger connection between these secular songs and the liturgical music of the day as there is between Aretha Franklin's soul singing and Southern Baptist church songs. One would be foolish to think that church music influenced secular music for the first time in 1956.

The text for these songs is based on the Montpellier Codex from the 13th century and, as I said, are all in what I believe is an early version of French. The accompanying booklet gives all the French lyrics, plus translations of these lyrics into English and German (since the record company, harmonia mundi, is, I believe, headquartered in Germany and the recording is manufactured in Germany.

While this is the first album I have reviewed by this group (named after an anonymous 13th century English writer on music who lived and worked in Paris and wrote about the music done) I have been listening to their recordings for several years now and I decided to start with this one and leave some of the liturgical works for later, closer to the Christmas season.

On a purely visceral level, I like this recording very much. On an intellectual level, I believe this is as good or better than any other medieval pieces, and most other Renaissance vocal pieces I have heard, except for some works with larger choruses such as Guillaume Du Fay's Mass for St. Anthony of Padua and Ensemble Gilles Binchois recording of eleventh century French Polyphony.

For those who are new to Anonymous 4 recordings, they are generally done not in a studio but in the nave of a large church, so there is a distinct sense of their singing in a great open space, with little or no sense of electronic enhancement. I really like this effect for this music and find it just one more reason to recommend this and other Anonymous 4 recordings. I think my highest recommendation comes from the fact that I can listen to this recording many times over and not become tired of it. There are other unusual types of music such as Russian chants, tangos, and even jazz which I can take for an hour or so and then must change. This material I can listen to for hours on end.

Highly recommended for fans of early music or for people who want something different.

Fun and full of love.......2005-10-13

This is a wonderful collection of chansons, or songs, from medieval France. It is different from many Anonymous 4 collections in that this is a piece of secular songs, primarily dealing with courtly love; the songs are particularly influenced by the Arthurian romances, very much in vogue at that time. This is a collection of motets - a musical style that came out of polyphony and is an important bridge between chant and modern song styling.

The Montpellier Codex has over 300 different motets (not including duplications), including many double motets, where the tenor piece is based on a plainchant, and different voices have their own texts. These 'fin amours' songs were most likely performed mostly in private entertainment settings, and song have argued that certain parts should be done by instruments rather than voices. Of course, the Anonymous 4 is an a capella group, so that idea does not come into practice here.

This is a playful and fun recording, full of lovely songs that reach the heart in strong ways.

-- Liner Notes --
This text accompaniment to this disc is very full, so much so that the booklet is not contained within the jewel case, but rather within a slipcover in which both the CD/jewel case and the booklet reside. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation - all repeated in English, German, and French sections (however, the French lyrics are in the older French language; a modern translation would be helpful). The cover art is a section of the lovely Tapestry, Lady and the Unicorn, Atelier of the Loire Valley, 'mille fleurs', fifteen century in the Museum of Cluny, France.

-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.

Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'

The group ended a touring career of nearly two decades in 2004.

from a newcomer viewpoint.......2003-02-23

LOVE'S ILLUSION is one of those uncanny instances that make tradition more unusual than avant-garde. Having two to four texts in an archaic language sung on top of each other makes the album at once chaotic and highly ordered. Some texts were clearly written after one another (cf. track 24), whereas others have but a random connection. Harmonically, however, everything falls into place.
I'm still fairly new to classical music, so I can only speak of my attempts at overcoming my difficulties in listening to mediaeval polyphony. When one knows any piece of music has a text, one wants to be able to hear the words - even if one doesn't know the language -, and this is main reason why a first listening of LOVE'S ILLUSION may be disturbing, if not annoying. One initial solution is to think of it as instrumental, and take the words for granted; I suggest also repeated listening of your favorite tracks, while trying to follow one singer's voice, with booklet in hand. I have paid some attention to this record and I believe it has helped me.
The major flaw of this record is not presenting a translation of the 13th century French songs into contemporary French. The difference is indeed quite astounding.

Love's Illusion.......2002-12-11

Overall: Monotonous, irritating. I had a headache after only three cuts, and the cut I really wanted is barely recognizable as the melody of interest. Let's just say that this is a sound (i.e., all female vocals, no instrumental variety), regardless of performers, that I do not go looking for.

OUTSTANDING.......2001-01-11

This is an excellent recording of some of the most beautiful music from the 13th Century. The vocal quartet "Anonymous 4" does a superb job, especially considering the entire CD is sung in Old French. This may well be the most peaceful and reaxing CD you will ever own.

Faure: Complete Songs 1 - Au bord de l'eau

Average customer rating:

Faure: Complete Songs 1 - Au bord de l'eau

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Fauré: The Complete Songs, Vol. 2: Un paysage choisi
Gabriel Fauré: The Complete Songs, Vol. 3
Fauré - The Complete Songs, Vol. 4 ~ Dans un parfum de roses
The Songs of Henri Duparc
L'Invitation au Voyage: Mélodies from La belle époque

ASIN: B0006L2J8E
Release Date: 2005-02-08

Average customer rating:

Excellent 1953 version emphasizes musicality over drama

Bizet: Les pêcheurs de perles

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

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Léopold Simoneau: Opera Arias & Duets

ASIN: B0006VXLOK
Release Date: 2005-02-15

Tracks:

Introduction - Orchestra Des Concerts Lamoureux
Sur La Greve Un Feu - Elisabeth Brasseur Choir
Amis, Interrompez Voz Danses
Demeure Parmi Nous, Nadir
C'est Toi
Au Fond Du Temple Saint
Que Vois-Je?
Sois Le Bienvenue - Elisabeth Brasseur Choir
Seule Au Milieu De Nous... Brahma, Divin Brahma
A Cette Voix
Ke Crois Entendre Encore
Le Ciel Est Bleu
O Dieu Brahma... Dans Le Ciel Sans Voile

Tracks:

L'ombre Descend Des Cieux - Xavier Depraz
Me Voila Seule Dans La Nuit... Comme Autrefois - Pierette Alaire
De Mon Amie
Leila, Leila!... Dieu Puissant... Ton Coeur N'a Pas Compris Le Mien
Ah! Revenez A La Raison... O Nuit D'epouvante
L'orage S'est Calme... O Nadir, Tendre Ami De Mon Jeune Age - Rene Bianco
Qu'ai-je Vu?... Je Fremis, Je Chancelle - Pierette Alarie
Entends Au Loin Ce Bruit De Fete - Pierette Alarie
Des Que Le Soleil - Elisabeth Brasseur Choir
Sombres Divinites
O Lumiere Sainte
Ce Sont Eux, Les Voici... Plus De Crainte

Customer Reviews:

Excellent 1953 version emphasizes musicality over drama.......2005-08-08

Source: Studio recording made in October 1953.

Sound: Generally good 1950s mono. (Opera d'Oro issues are always iffy on matters of sound, ranging from very good to appallingly bad. They are generally much safer bets when based on studio recordings, as is the case here, than on live performances.)

Text: Standard text adopted with the first revivals of the opera, some years after Bizet's death.

Cast: Nadir - Leopold Simoneau; Zurga - Rene Bianco; Leila - Pierette Alarie; Nourabad - Xavier Depraz. Conductor: Jean Fournet.

Documentation: No libretto. Short plot summary. Track list.

This performance provided my first recording of "Les Pecheurs de perles," acquired more than forty-five years ago on Lp from some obscure European publisher. Having stumbled upon a CD version of the old warhorse, I was greatly pleased to find that it is as good as I had remembered it to be.

By 1863, the 25 year-old Bizet had already set his hand to incidental music to "L'Arlesienne," the requisite Sir Walter Scott opera, "La jolie fille de Perth" and an oriental opera, "Djamileh." He had not yet wrung the hankering for exoticism out of his system, so he embarked on a new opera to be set in pre-Columbian Mexico. With youthful folly, he began writing the music before his two hack librettists, Michel Carre and Eugene Cormon, had figured out a finish for the play. Even before the lack of a finale became a crisis, a major change had to be incorporated. It seems that the "Pearlfishers" team had been beaten in the race to put on an Aztec play in Paris. Since Carre and Cormon had probably known nothing at all about Meso-American empires, it is likely they had no qualms about shifting their story to another place they knew nothing about, Ceylon. Carré and Cormon never did come up with a logical finish, so they just set things on fire and let the doomed lovers depart into the sunset, providing a dramatic arc to "The Pearlfishers" that makes "Il trovatore" look like a textbook example of a well-made play.

I had remembered the star of the recording to be the tenor, Leopold Simoneau, and so he is. Simoneau had a voice of no great size but of surpassing sweetness and elegance. I have seen him described as a latter day Tito Schipa. To some extent he was, but Simoneau was a true vocal technician, far more skillful than that charming old con man, Schipa. Simoneau's Nadir is more focused on the beauty of the musical line than on drama. In this most lyrical of Bizet's operas, it works.

What I had not remembered about this recording was Pierette Alarie. Alarie was a formidable lieder singer who was married to Simoneau and who made many recordings with him. By operatic standards, her voice was small, but it was beautifully pure, precisely focused and amazingly agile, a sort of Francophone Roberta Peters. (For those familiar with Webber's "Phantom of the Opera," Alarie was precisely the type of singer for the role of the Phantom's young protegee.) All those years ago, I was busy being bowled over by Milanov, Tebaldi, Nilsson and Sutherland, so I foolishly discounted Alarie's smaller voice. While I still hold those ladies in highest esteem, this time, when I bought the CD, I actually listened to Alarie and I was amazed. This was particularly true of the closing number of the First Act, "O dieu Brahma." In every other performance that I have seen or heard, heavier-voiced sopranos make this prayer pleasant enough but nothing to compete with the acknowledged big numbers of the act, "Au fond du temple saint," and "Je crois entendre encore." Alarie's version is a revelation. With her lieder singer's discrimination and her phenomenal vocal agility, Alarie offers up a bel canto-like gem.

The Zurga of this set, while good, was simply not in the class of Simoneau and Alarie. René Bianco had a baritone voice that was pleasant but not at all commanding, not the best thing for portraying a character who is all assertiveness. The slight fuzziness of his vocal production kept Bianco from being an equal with the super-focused Simoneau and Alarie in the ensembles.

Nourabad is a thankless part, placed in the opera merely to keep the plot ticking. I remember nothing about any Nourabad I have seen or heard in the past. I remember nothing about Xavier Depraz beyond the obvious fact that he was not bad enough to make me remember him for that reason.

The first time I listened to these CDs, I found myself puzzled by the conducting. Jean Fournet was a big name in the French repertory in the years straddling World War II. As I had been particularly impressed by his dramatic "Samson et Dalila," the comparative looseness of dramatic tension here seemed odd. After comparing his version of "The Pearlfishers" with those of Rosenthal, Dervaux and Pretre, I think it probable that there was mutual agreement among Fournet, Simoneau and Alarie to downplay melodrama in favor of musicality, to take a miniaturist, even lieder-like approach. Of the four conductors, Fournet is the most precise and the most French. "The Pearlfishers" may take place on exotic Ceylon, but Jean Fournet's Ceylon is firmly anchored in the Seine, not many meters downstream from the Cathedral of Notre Dame.

This is an excellent "Pearlfishers." This version and the excellent 1959 live version conducted by Manuel Rosenthal (Gala GL 100.504), which emphasizes the drama of the opera, should be in any serious collection.

Five stars.

Average customer rating:

All things old...
Impressive
Impressive
Wonderfull!

The Medieval Experience

Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

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Compilations | Classical | Styles | Music

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

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

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

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

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

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

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Sinners & Saints: The Ultimate Medieval and Renaissance Music Collection
A Feast of Songs: Holiday Music from the Middle Ages
Music of the Gothic Era
Praetorius: Dances from Terpsichore
Music of the Troubadours

ASIN: B0000057FL
Release Date: 1996-11-19

Tracks:

Antiphona: Hosanna
Antiphona: Pueri Hebraerorum
In May, When Rose Trees Are In Bloom
Antiphona: Cum audisset
Alle, psallite cum luya
Antiphona: Coeperunt omnes
Antiphona: Occurrunt turbae
Antiphona: Cum angelis
Antiphona: Ante sex dies
If Anyone Looks At Me
Hymnus: Gloria, laus et honor
In The Month Of May
Responsorium: Ingrediente
I'm Not Afraid To Talk To My Sweetheart
Introitus: Domine, ne longe facias
O Most Gentle Virgin Mary
Graduale: Tenuisti manum dextram
Fauvel's Scheming Household
Offertorium: Improperium
Communio: Pater, si non potest
Shamelessly I Went Around

Tracks:

Introitus: Terriblis est
In The Turmoil Of The Sea
Kyrie XII
Gloria XII
Click, Click, One Morning Robin Went Off
Graduale: Locus iste
Alleluia: Adorabo
Offertorium: Domine Deus
When I See It In The Clear Glass
Santus XII
Agnus Dei XII
Communio: Domus mea
He Who Puts His Trust
Invitorium et Psalmodia: Domun Dei
The Pantheon Is Destroyed
Responsorium: Fundata est
I Rode By The Elm Tree
5 Antiphonae
Hymnus: Angularis fundamentum
Antiphona ad Benedictus: Zachaee
Rahcel Mourns Her Children
Hymnus: Urbs Jerusalem
Antiphona ad Magnificat: Sanctificavit
Antiphona ad Magnificat: O quam metuendus est
King Charles, Son Of John

Tracks:

Come Holy Ghost - Several Composers
Blessed Mother - Several Composers
The Herald Preceded The Prince - Several Composers
The Greatest Good Of Mortals - Dufay
Flower Of Flowers - Dufay
Rejoice, Empress Of Byzantium - Dufay
Loving Mother Of The Redeemer - Dufay
Glory And Praise To Thee - Several Composers
Lamb Of God - Several Composers
Blessed Art Thou, Maria - Several Composers
From Starry Olympus, Love Made Me Descend - Josquin

Tracks:

Missa 'L'homme arme' super voces musicales: Kyrie - Several Composers
Missa 'L'homme arme' super voces musicales: Gloria - Several Composers
Missa 'L'homme arme' super voces musicales: Credo - Several Composers
Missa 'L'homme arme' super voces musicales: Sanctus - Several Composers
Missa 'L'homme arme' super voces musicales: Agnus Dei - Several Composers
Mass For The Dead: Introitus (Grant Them Eternal Rest) - Several Composers
Mass For The Dead: Kyrie (Lord Have Mercy On Us) - Several Composers
Mass For The Dead: Graduale (Though I Walk Through The Valley Of The Shadow Of Death) - Several Composers
Mass For The Dead: Tractus (As Pants The Hart) - Several Composers
Mass For The Dead: Offertorium (Deliver The Souls Of All The Faithful Departed) - Several Composers
Lament On The Death Of Johannes Ockeghem - Several Composers

Customer Reviews:

All things old..........2005-09-26

This is a four-disc collection of wonderful pieces representative of the types of music from the Medieval times/Middle Ages. Gregorian chant has experienced a resurgence in popularity (indeed, it is almost new age), but in fact they are part of the ancient tradition of church music. Masses, folk songs, and motets round out the types of music on offer here.

The first two discs, entitled 'Monks and Troubadours', combine folk songs and chansons with Gregorian chant sequences - the first disc has chants for Palm Sunday (performed by the monks of Munsterschwarzach, Germany) together with songs performed by the Early Music Consort of London. The second disc incorporates chants that might be used at a church dedication (performed by the monks of Notre-Dame de Fontgombault Abbey, France) and songs again by the Early Music Consort. The difference is palpable. Gregorian chant varies significantly from the polyphonic songs of the troubadours.

The third disc is of motets, composed by Dunstable, Dufay, Binchois, Obrecht, and Desprez, some (but not all) of the great names in medieval composition. This collection includes a polytexted motet by Dunstable and more standard forms in which all voices join to sing the same words. Binchois' motet 'Gloria, laus et honor' derives from a Gregorian chant found on the first disc, with words still familiar in the modern hymn 'All Glory, Laud and Honour'.

The fourth CD inlcudes masses by Desprez and Ockeghem. Desprez is one of the greatest of the medieval composers, and his Missa L'homme arme is one of the better known; Ockeghem's mass here is one for the dead, a very common type of composition, here expertly executed. The final piece on this disc is a song written by Desprez in honour of Ockeghem, which despite not using typical mass or biblical texts, still incorporates the introit from the requiem, and as a mark of respect for the passing of Ockeghem, Desprez composed the music itself using all black notes.

This Archiv production is a stunning collection, great for the listener and great for the student. In one set, one has a broad range of music, spanning many types and hundreds of years. The production quality is very high, the music itself wonderful, the performances beautifully carried out - not much more can be asked for from a recording.

Impressive.......2000-11-11

Nice sounding recording. The tracks are authentic and are great for anyone interested in medieval history and it's music.

Impressive.......2000-11-11

Nice sounding recording. The tracks are authentic and is great for anyone interested in medieval history and it's music.

Wonderfull!.......2000-06-23

I heard this CD at a friends house. I compare the music to loreena McKennitts. Its wonderfull and i love it. I cant wait to purchase a copy of my own.

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