Sell in [Import]

1. Berlin Chair

2. Honeymoon Is Over

3. Ordinary Angels

4. Polyester Girl

5. Celebrity Head

6. Souleater

7. Leaving Home

8. Prisinor Of Society

9. Your Eyes

10. Ana's Song (Open Fire)

11. Ice

12. Gyroscope

13. Buy Me A Pony

14. Alimony

15. No Aphrodisiac

16. Down Again

17. Black Friday

18. That Ain't Bad

Tracks:

Lamb Recipe
Fun To Be Fooled
Introduction
What Can You Get A Nudist For Her Birthday?
Auditions
Isn't He Adorable
Fiddler on the Roof
Let's Face The Music And Dance
Bosom Buddies
Angela Lansbury
Threepenny Opera/ Pirate Jenny
It Never Was YOu
And Then There's Maude
Some People
The Soup Ladle
Where Do You Start
Bernie Schwartz
If I Can't Sell It, I'll Keep Sittin' On It!
Personal Hygiene
Who Cares
Fifty Percent
The Nun's Story
You're Gonna Hear From Me
The Chance To Sing
The Man in the Moon is a Lady

Amazon.com

More comedy monologue than musical performance, Bea Arthur's one-woman show Bea Arthur on Broadway: Just Between Friends collects memories from the silver-haired star's life on Broadway (Fiddler on the Roof, Mame, The Threepenny Opera) and television (Maude, The Golden Girls).

"I wanted to see if I had the guts to just come and be myself," Arthur says in this performance recorded in front of a live audience in December 2001. Alongside co-creator and pianist Billy Goldenberg, she offers wry and often funny anecdotes about her career and the people she's worked with (Angela Lansbury, Pia Zadora). When she does sing ... well, even decades ago Arthur didn't have a beautiful voice, but she's well-suited to the comedy songs. And her versions of Kurt Weill's "Pirate Jenny" and Goldenberg's own "Fifty Percent"--while they won't make anyone forget Lotte Lenya or Dorothy Loudon--are effective in their own right. Bea Arthur on Broadway is definitely more Bea than Broadway, but it's a career well worth remembering. --David Horiuchi

Customer Reviews:

And Then There's BEA!.......2007-01-20

Thank goodness this is available on CD. I saw the show twice in Manhattan and once in P-town MA. She is an American treasure. What's nice is that you don't need to have had seen the live performance to enjoy this CD. (Though I'd love to have it on DVD.) Just Bea, Billy, a piano and yet so much more!!!!!

Golden Girl Shines Brightly.......2005-10-21

For anyone who has ever laughed as Bea Arthur deftly put people in their place with her lightning quick wit as Dorothy on the "Golden Girls", they will not be disappointed with this CD. Arthur, some 9 years after leaving the small screen, returns triumphantly to her professional roots, the stage, and does not disappoint. Mixing antedotal stories with classic songs, all to the accompianment of Billy Goldenburg, Arthur weaves her life in a brillant 90 minute tapestry so that the listener regrets ever reaching the end. Anyone who has ever seen Arthur perform on stage, or as Maude or Dorothy, they will not regret purchasing this CD. For that rare minority of people who have not have the privilage of seeing Arthur previously should find out what they have been missing of this American icon.

Alive and Unforgettable.......2004-11-21

Bea Arthur. Nearing 80. And yet, her continuing vitality is blatantly obvious in this live recording. I will tell you this--I bought this disc with no expectations whatsoever. I like Golden Girls as much as the next chap, and I was slightly curious about what Bea had become.

The simple truth was that I was stunned. Completely stunned. Again, this sounds as the same, alive, malicious woman who portrayed those "affirmative women" on TV (per her own words). She mocks her own voice, recalling the humiliation of being mistaken for the man of the house through the phone ... and some--who buy this disk with the intent of getting a faultless musical performance--might agree (and according to some reviews her, HAVE agreed) that her voice is perhaps too deep, too cutting, not pure enough. But this is NOT (and I stress it) a musical performance per se, it is not a perfectly rounded voice singing perfect standards.

What this disc is? A drama performance. The songs are intermissed with speech interludes, during which Bea narrates anecdotes from her past experience as an actress--and that's is PRECISELY what is MAGIC. You feel as though she's inviting you to witness the high points of her life, and it's a very nice place. The songs, seem alive as rarely before, because they are performed. She renders them with life, and make the most of her abilities.

I really appreciated some of the smaller things. You get to recognize her trademark, slightly embarassed, `You know' ... She'll make you laugh with good natured reminiscence ("A Mother's Ingenuity"!); some of the songs are delightfully imperfect, (I learned to love the half-sung/half-spoken "What Do You Start" ...), some others are wonderfully dynamic ("What Can You Get a Nudist For Her Birthday?", "Threepenny Opera/Pirate Jenny" ...), but all are very enjoyable ...

Be it "Isn't He Adorable?" or "If I Can't Sell It, I'll Keep Sittin' on It" ... every track on this disc will have you fondly reminisce or curiously discover the career of one helluva woman.

You really can't be disappointed. I promise.

If only we could have a visual as well!

A trip down memory lane..........2003-10-19

Bea Arthur, one of the finest performers of her time.
Bea is most known for her role on the sitcoms Golden Girls and Maude, but she's done so much theater work as well.
She was in the cast of the original U.S production of "Threepenny Opera" starring Lotta Lenya, and in the original cast of "Fiddler On The Roof" and "Mame". But Bea started her theater career in a show called "The Shoestring Revue".
Bea stoled the scene every night when she performed as yente the Matcmaker on "Fiddler On The Roof" and she also got a hole lot of response as Vera Charles on "Mame", starring Angela Lansbury. In this live performence Bea performs a collection of songs chosen by herself, such as, "Let's Face The Music And Dance", "Isn't He Adorable", "Fifty Percent" and her theme song from Mame "The Man In The Moon". Bea is absolutely one of our time finest performers, with her witty sence of knowledge and her indefiable voice she has establised herself as a broadway legend, alongside Judy Garland, Elaine Stritch, Mary Martin. She is one of the last broadway female legends alive. And still going strong, Bea is rounding 80, but you wouldn't notice.
Do yourself a favour and take a trip down down memory lane, it's your chance to hang out with the last female broadway legend around.

A Truly Remarkable Accomplishment.......2003-06-16

As a huge fan of Bea Arthur's, I was very excited when I heard she would return to Broadway to do a one-woman show. Not since winning the Tony Award for Best Actress in a Musical for "Mame" has Bea Arthur been on stage. Well, what a way to follow up! This cd (which was recorded during a live performance) Bea gives fans an intimate look into her show business life. The stories are very funny and touching, and the songs (which Bea picked out herself) are fun, beautiful, and magical. A favorite part of this cd for me, is when Bea talks about her days on TV. She was the star of two very successful and groundbreaking sitcoms, "Maude" and "The Golden Girls" I am a huge fan of "The Golden Girls" and Bea's character Dorothy was always my favorite. This cd is a must for any Bea Arthur fan, but the appeal of this amazing show goes beyond her hardcore fans. Any fan of classic Broadway and cabaret songs will love this cd. This is one of the favorite cds I own, and should be treasured by more people. And finally, as a sidenote, Bea's one-woman show was nominated for a Tony Award in 2001 in the category of Best Special Theatrical Event.

Average customer rating:

Don't Remeber THIS "Alamo"
Defending the Alamo
Excellent CD
Enjoyable a-typical score
None Better

The Alamo

Manufacturer: Hollywood Records
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Classical | Styles | Music
Similar Items:

The Alamo (Widescreen Edition)
Three Roads to the Alamo: The Lives and Fortunes of David Crockett, James Bowie, and William Barret Travis
The History Channel Presents The Alamo
The Patriot: Original Motion Picture Score (2000 Film)
Remembers the Alamo

ASIN: B0001NBN6G
Release Date: 2004-04-06

Tracks:

Flesh And Honor
300 Miles Of Snow
What We're Defending
El Bexareno
La Zandunga
Who Took Their Loved Ones
Listen To The Mockingbird Sing
The Evacuation Of Bexar
The Calm After The Storm
The Visitation Of Saint Ursula
Quiet Mountain
They Ain't Bear
Bonham's Ride
Sell Our Lives Dearly
Night Falls On The Alamo
Deguello De Crockett
The Last Night
The Battle Of The Alamo, Part 1
The Battle Of The Alamo, Part 2
The Battle Of The Alamo, Part 3
The Battle Of The Alamo, Part 4
The Battle Of The Alamo, Part 5
The Battle Of The Alamo, Part 6
The Death Of Crockett
Runaway Scrape
Blood, Or Texas

Amazon.com

Carter Burwell cut his film scoring teeth on many a Coen brothers movie, quickly gaining a reputation for a quirky, human-scaled inventiveness that informed everything from jazz and folk to orchestral music and even the well-timed nod to Morricone. That often introspective sensibility is well paired to director John Lee Hancock's revisionist take on the legend of San Antonio's fabled doomed fortress, which focuses more on the conflicted human dimensions of its characters than familiar cardboard, pop culture heroics. Burwell's use of orchestral pomp is deliberate and decidedly restrained; more often the composer leans on spare, evocative passages of simple, though ever-inventive folk-based music (like the elegiac "Quiet Mountain") played by various combinations of guitar, banjo, and violin. Vintage traditional Mexican and American tunes are also given their atmospheric due via Jennifer Hammond's and Craig Eastman's arrangements of "La Zandunga" and "Listen to the Mockingbird Sing," respectively. But its Burwell's own peculiarly modernist instincts that inform both tradition ("Crockett's DeGuello") and his own masterfully understated cues, particularly the bleak, almost gothic emotional landscape of his six-part "Battle of the Alamo Suite" and its bittersweet coda, "Blood or Texas." --Jerry McCulley

Customer Reviews:

Don't Remeber THIS "Alamo".......2006-07-21

When making another version of a film that has already been made producers,directors,performers,and score composers are too often tempted to "do it differently",as if by twisting and turning a basic premise they will succeed..The classic film version of"The Alamo"is and remains the John Wyane version,which was nominated for several academy awards.Granted,the John Wyane version had little to do with actual history,but,then again,the purpose of the film industry has always been to entertain,not to teach..John Wyane,who produced and directed,as well as being the star of that film chose Dimitri Tiomkin to score his film.
Tiomkin,and old-line symphonic genius,provided a magnificent score,at once adventurous and poingnant..
The people responsible for this version of"The Alamo"decided to teach,rather than entertain,and,at the same time attempted to be politically correct as well.Thus,the mythic aspects inherent in the John Wyane version were replaced by morally ambiguous nonsense,and heroics were more or less eliminated in favor of a rather desperate survival theme,coupled with some added imperialistic touches with the addition of the Sam Houston charecter as a major player along with Bowie,Crockett,and Travis.
The people responsible for this film ,having many fine symphonic-oriented composers to choose from instead opted for minalmism by Carter Burwell..One can hardly imagine,for instance,a five-star gourmet meal served on a foam plate,with plastic knife and fork.Likewise one can hardly imagine a would-be epic western (even if it is very revisionist)bearing a score that plays like a new-age snoozer...But this is exactly what Burwell has given us...There are no epic themes here...There is an enormous orchestra credited as having participated in this project however when one listens to the finished product one is hard-pressed to HEAR any evidence of this participation.
John Wyane's script called for a lot of action on-screen,and Tiomkin obligingly provided very suitable musical themes..
The script for this new film does not call for very much action,even short-changing the audience during the final battle scene by shooting it in near-darkness,and underscoring it with a dirge-like monotone.
This new film was"troubled"from the very start.Ron Howard was supposed to direct but he didn't.The cast was shuffled around several times.Some "Main"charecters were eliminated entirely ,although thier traces continued to show up in the trailers released for this movie..While on the subject of the trailers for this film,the music used in them was 110% better than the Burwell claptrap..Scenes featured in the trailers were actually NOT in the finished film.The film was scheduled for a christmas opening,a slot usually reserved for top-of-the-line oscar contenders,and was then,suddenly yanked,and later released in April,where it died a much-deserved death after about a week in theatres,a colossal flop.
The film was terrible,and part of this is due to the Burwell score which is terrible-plus.

Defending the Alamo.......2005-09-09

I enjoyed the film and, in particular, the intelligent and sensitive portrayal of David Crockett but...so much had been cut by the time it was released as a DVD in England. The soundtrack is pleasant enough so if you liked it on the screen you will enjoy the CD but we do not have the Deguello on its own, (but have the haunting duo with David Crockett's fiddle), and we do not have the saucy little tune played at San Jacinto. On balance, worth buying.

Excellent CD.......2005-06-22

This is an excellent CD. If you are interested in this CD you will love "Audio Tour of the Alamo and Old San Antonio of the Wild West". This CD will gudie you around the Alamo Battlefield in present day San Antonio sshowing yu the actual locations of events of the battle. To hear a sample of this audio tour go to
http:www.alamoaudiotours.com you can also purchase this CD here on Amazon.com

Enjoyable a-typical score.......2005-03-05

Most war movies have underscore's that pulse with energy and power of battle. Carter Burwell takes another course. His music is melancholy and some people have taken the celtic sounding music and complained out it but I found the music to be powerful and perfectly fitting with the movie. The Alamo is also enjoyable as a single listening experience although it does help to have seen the movie. I particularly enjoyed the track where Crockets fiddle is combined with the Mexican "Slit Throat" band. Overall, I found this cd to be enjoyable and it gets better every time i listen to it.

None Better.......2004-12-01

A few comments about the movie The Alamo, if you would indulge me for a moment. It is pertinent. I didn't have high expectations for this film, the trailers I saw made it out to be another larger-than-life, ain't-afraid-of-nothing, cliché-filled motion picture. We lived in San Antonio for several years, it is a great town filled with wonderful people. We visited the Alamo on several occasions. It is a holy place for Texans, sacred, and being "non-Texans" I am sure most of the locals felt we really couldn't appreciate or even grasp the significance of the place, the honor of those who fought and died there. I must admit it was all somewhat lost on me. Thus, I was fully expecting this movie to be overdone and nauseating, especially considering I am not the biggest fan of two of the lead actors (Billy Bob Thorton and Dennis Quaid).

OK, please bear with me, I will get to my point in a second. We ended up renting the film as I had heard the cinematography was sensational (it was). But my biggest surprise was the film itself. Not the script, not the actors, but the entire film. I can't really put into words how good it was, not perfect, but an excellent motion picture and probably an accurate depiction of the individuals and events as they occurred. And both Thornton and Quaid were exceptional...they deserve Oscars come January, and it will be a shame if they don't get them.

Now, concerning this soundtrack. To put it simply, if this CD isn't the best soundtrack winner for 2004, then there is a conspiracy going on. It isn't on Amazon's editors picks, nor the customer's favorites list, I chalk that up to being it was just recently released. However, it should be on both, and highly competitive for the top honors this year. It is simply that good. Carter Burwell set a new standard with the soundtrack for O Brother, Where Art Thou? and may have exceeded it with this one. The music here just puts the visualizations of the movie back into my head...the music retells the story as well as the images.

The bottom like is fairly straightforward, if you liked the movie than you owe it to yourself to get this soundtrack. There is absolutely no way you will be anything other than engrossed in it.

Black And Blue: A Musical Revue (1989 Original Broadway Cast)

Average customer rating:

Diverse offering full of laughter, love and the blues!!

Black And Blue: A Musical Revue (1989 Original Broadway Cast)

Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classic R&B | R&B | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

Marches | Miscellaneous | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music
Similar Items:

Ain't Misbehavin' (1978 Original Broadway Cast)
Jelly's Last Jam (1992 Original Broadway Cast)
Play On!: A New Musical (1997 Original Broadway Cast)
Bubbling Brown Sugar
Sarafina! The Music Of Liberation: Broadway Cast Recording (1988 Original Broadway Cast)

ASIN: B000000PIF
Release Date: 1992-04-10

Tracks:

Blues: I'm A Woman
Royal Garden Blues
St. Louis Blues
After You've Gone
If I Can't Sell It, I'll Keep Sittin' On It
I Want A Big Butter And Egg Man
Stompin' At The Savoy
I've Got A Right To Sing The Blues
Black And Tan Fantasy
T'Ain't Nobody's Bizness If I Do
Call It Stormy Monday/I'm Getting 'Long Alright
Body And Soul
I'm Confessing
Am I Blue
I Can't Give You Anything But Love
In A Sentimental Mood
Black And Blue

Customer Reviews:

Diverse offering full of laughter, love and the blues!!.......1998-12-24

This musical soundtrack is my favorite! It has a diverse offering of artists who range in vocals from a very robust and alluring tenor to enchanting soprano. The types of songs go from fun & upbeat to "somebody-please-get-me-a-tissue" blues. These selections will make you envision whatever scene/theme that is being performed and will force you to crawl into the number and savor/enjoy the fun or the blues of it.

Tracks:

Sa Sabine
Balzac 7502
Sos Elephants
Les Sauvages
Ecole De Merde
The Tongue Of Romance
Demimonde
Non Merci Oncle Sam
Apollinaire
Le Coq Sportif
Funky Peripherique (Bert Boden Remix)

Customer Reviews:

They stop Faux Nobody!.......2004-03-17

To fully appreciate Les Sans Culottes- one must either speak French (not moi) or visit their website. The lyrics are pure genius- and I don't even know if SOS Elephants; a song that mentions fat pachyderms and politician in the same verse can be translated back! It's not "revisionist" or "reductionist" in the way that EVERY pop band on MTV is. (Puff Daddy anyone?!) They are truly original, and it's too bad they have to be compared to "homage" bands when Justin Timberlake, Creed, Staind, 50 Cent, Britney, Linkin Part aren't.

I Do It Without Underpants Too.......2003-11-29

Les Sans Culottes, which translates to "those without undergarments," with their campy sex vibe, would sound at home in any of the Austin Powers films and should the Man of Mystery go to Paris to meet Octo-pusé, LSC would definitely follow him there. "Demimonde" with its mystery and show-stopping chorus even sounds like a lost James Bond theme. You can get an idea of the Brooklyn-based band's approach and sentiment just from the names of their deux chanteuses, Kit Kat le Noir and Celine Dijon. Disc opener, "Sa Sabine," sets the stage for much of Faux Realism with it's backing harmonies and party atmosphere. "Balzac 7502" is nostalgically reminiscent of the music of the Gallic past as "SOS Elephants" sounds like They Might Be Giants filtered through red wine and Roquefort. "Ecole de Merde" is French garage pop at its finest and "Le Cog Sportif" translates perfectly the live energy of their shows to your living room. Album standout, "The Tongue of Romance," mocks many of the wonderful things the world has received from LSC's home and sarcastically features the opening notes of classical standard "Fur Elise" played on a concertina. Recently, their tunes can be heard in commercials by Hewlett Packard and most episodes of The Real World: Paris. If the Nineties brought the J-Pop & Britpop invasions, Les Sans Culottes with their ironic party kitsch could be the one to usher in the Franco-phoney wave of "Grand Guignol Roque & Roll" in this new millennium.

le tout banlieue a la feu au cul!.......2003-04-14

Oh, my. I have no idea how to explain Les Sans Culottes. The name of the band is, crudely, "Those who wear no underwear". They are so ultra-cool that nobody much yet knows who they are yet. They are simlutaneously the antidote to high school French and a weapon of mass destruction aimed at the boring junk put out by the major labels today.

I heard the live version of "Funky Peripherique" on local college radio (KCOU) and ordered the CD the same day. Listen to the samples here and on the band's eponymous web-site, and you could well be hooked, too. I guess they are best described as a cross between the B-52s and Jacques Chirac....The melodies are infectious, while the lyrics are allegedly French (or as French as you'll get from a a ye-ye pop band that comes from Brooklyn).

MERDE!.......2003-03-26

Revivalist of french garage rock. Except without any of the charm, style, or greasy wit of that genre. Trite and boring. Dependency on nostalgia to use as a platform for anything is proof of an intellectual bankruptcy...so is the music of LSC. Worthless.

I can't even..........2003-02-20

I can't even explain it. I just love it so much.

Mahler: Lieder aus Des Knaben Wunderhorn; Der Tamboursg'sell

Average customer rating:

the extra star is for the pianist
Perfect!
Mahler and Hampson...

Mahler: Lieder aus Des Knaben Wunderhorn; Der Tamboursg'sell

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

Mahler: 5 frühe Lieder / Lieder eines fahrenden Gesellen
Des Knaben Wunderhorn
Mahler's Songs of Youth
Mahler: Lieder eines fahrenden Gesellen; Kindertotenlieder; Rückert-Lieder
The Mahler Symphonies: An Owner's Manual (includes 1 CD)

ASIN: B000000SFR
Release Date: 1993-11-02

Tracks:

Des Knaben Wunderhorn: Der Schildwache Nachtlied
Des Knaben Wunderhorn: Revelge
Des Knaben Wunderhorn: Rheinlegendchen
Des Knaben Wunderhorn: Wer hat dies Liedlein erdacht?!
Des Knaben Wunderhorn: Verlorne M
Des Knaben Wunderhorn: Trost im Ungl
Des Knaben Wunderhorn: Lob des hohen Verstands
Des Knaben Wunderhorn: Des Antonius von Padua Fischpredigt
Des Knaben Wunderhorn: Lied des Verfolgten im Turm
Des Knaben Wunderhorn: Der Tamboursg'sell
Des Knaben Wunderhorn: Wo die sch Trompeten blasen
Des Knaben Wunderhorn: Das irdische Leben
Des Knaben Wunderhorn: Das himmlische Leben
Des Knaben Wunderhorn: Urlicht
Des Knaben Wunderhorn: Es sungen drei Engel

Customer Reviews:

the extra star is for the pianist.......2006-05-08

Hi, I am Thomas Hampson. I am a self-promoting opera singer. I fancy myself quite the musical scholar and historian. It really is all an overwhelming illusion, in order to protect my image. I really don't know mcuh about this material, but I can sure talk a good game. See how I pose on the cover with my glasses, looking oh so academic and astute? A picture is worth a thousand cd sales, aint it? Ka-ching, ka-ching! Listen to how I caress each word and note with just the right amount of bluff and bluster. Hermann Prey is rolling over in his grave, but that's ok, as I have picked up the gauntlet and am thrashing anyone who buys this album with it. Ha, ha.

Perfect!.......2004-05-29

I agree with one thing the previous reviewer says: Mahler and Hampson together MUST be good.

I love this recording. The piano gives a different light and colour than an orchestra and some songs sound completely different, but beautiful always. I especially like "Urlicht" - much better by a baritone/piano than by a contralto/orchestra. For me the sound is just much more intimate, powerful and full of feeling.

Mahler and Hampson..........2003-12-24

Mahler and Hampson...when they come together a bad music can't be done...Des Knaben Wunderhorn is one of my favourite Mahler's song cycle...and it has been beautifully performed on this cd but I think this song cycle must be played by an orchestra not with the piano...Mahler's music sounds weak without an orchestra in this song cycle...it doesn't give the exact feeling...It is a good fight but the weapon is wrong...
my recommendation is the one with Lucia Popp accompanied by Berliner Philarmoniker...

Tracks:

Symphony No. 3 In D Minor: I: Kraftig. Entschieden
Symphony No. 3 In D Minor: II: Tempo di Menuetto. Sehr massig
Symphony No. 3 In D Minor: III: Comodo. Scherzando. Ohne Hast

Tracks:

Symphony No.3 In D Minor: IV: Sehr langsam. Misterioso. Durchaus ppp
Symphony No.3 In D Minor: V: Lustig im Tempo und keck im Ausdruck
Symphony No.3 In D Minor: VI: Langsam. Ruhevoll. Empfunden
8 Lieder From 'Des knaben Wunderhorn': Der Schildwache Nachtlied
8 Lieder From 'Des knaben Wunderhorn': Verlor'ne Muh
8 Lieder From 'Des knaben Wunderhorn': Wer hat dies Liediein erdacht?
8 Lieder From 'Des knaben Wunderhorn': Wo die schonen Trompeten blasen
8 Lieder From 'Des knaben Wunderhorn': Revelge
8 Lieder From 'Des knaben Wunderhorn': Der Tamboursg'sell
8 Lieder From 'Des knaben Wunderhorn': Des Antonius von Padua Fischpredigt
8 Lieder From 'Des knaben Wunderhorn': Ablosung im Sommer

Customer Reviews:

Perfectly Faithful to the Score!.......2007-04-24

As always with Sir Simon, here he is nothing but faithful to Mahler's score. The first movement is a true march. It moves along at a rather quick pace, something very necessary in such a long movement. Rattle clearly has a firm grasp on the movement's structure, and that makes this a very successful performance of the movement. The second movement may not be all that special, but Rattle does keep structure at the fore again, and pays great attention to the numerous details in the movement.

The third movement is quite brilliant. You can really here the animals frolicking and playing, and the hushed still when man enters (posthorn episodes)is absolutely amazing.

Birgit Remmert, as the reviewer below said so well, could be a little more mezzo-ish in the fourth movement, but to her credit she floats the high G's and F's in the bell-movement. It is so important that the mezzo float those passages as they are precusors to the same sections that appear in the finale of the Fourth Symphony (which is easily floated since it is sung by a soprano soloist). Too many mezzos sing them too heavily, after all it is marked pianissimo.

On to the controversial last movement. For my taste, no conductor does this movement better than Tennstedt. That is not to discredit Bernstein, MTT, Horenstein, or any of the other greats. However, Tennstedt keeps this movement flowing at a quicker than normal pace, yet manages to never make the music sound hurried. Rattle also opts for a quicker pace, but one which does get a bit frantic at the various moments where Mahler asks the conductor to speed up. The controversy that I mentioned above comes from Rattle's fast timpani and bass notes at the end of the piece. All those who think he rushes these last few bars should look in the score. Right when the timpani enter at the end Mahler marks "a tempo". Given Rattle's quicker-than-normal tempo at the start of the movement, it is obvious that he does NOT rush the final bars, he simply does what the composer says. This technique of studying the score and performing it according to the composer's markings seems to elude many conductors, and thus their performances fail because thay are not faithful to the composer's intentions.

As always, Rattle is perfectly faithful to Mahler's intentions. I am not saying that I agree with this faster tempo, nor do I agree with the faster timpani strokes as they do diminish the grandeur at the end, but Rattle's actions are justified by Mahler's markings. We all just happen to be spoiled on the grand endings that the greatest recordings have given us. Tradition can be a very cruel thing. Bravo, Sir Simon, for always being faithful, even if it means being different!

THOUGHT-PROVOKING - BUT TRUE TO THE SCORE.......2007-04-13

Mahler is famous for having said that a symphony should be a whole world. And the Third, the biggest of the lot at least in duration, is a prime example of this. The subtitles he originally gave to the movements and later withdrew (What the Flowers Tell Me, What the Animals Tell Me, etc.) has perhaps encouraged the view that it is nothing more than a gigantic tone poem on aspects of this whole world. Mahler, however, was never less than a serious symphonic thinker.

This is brought home by Rattle's interpretation, particularly of the first movement. This movement can easily degenerate into a great sprawling mass. It is actually a perfectly logical development and expansion of classical sonata-form with a big slow introduction that takes two goes to launch itself properly into the allegro material as well as two separate development sections and a big coda. The structure is supported on pillars of the opening horn theme and satellite motifs derived from it. This reappears at crucial points in the structure, usually on the massed horns again or on the brass, and Rattle ensures that, at every appearance, it is given its full weight and import, often over the thickest textures. Even more illuminating is Rattle's approach to the slow introduction. He clearly sees the whole movement as a symphonic essay on the March (Mahler's original title for the movement was `Summer Marches In') and he sets out his stall from the start. Amidst all the subterranean rumblings and upheavals, the lava spurts on the trumpet and the thunder-thwacks of the timpani (all gloriously recorded, by the way) there is the insistent slow march rhythm with the triplets of the bass drum. It's as if, in this picture of the creation of Nature, it is the nature of march itself that is trying to break free from the chrysalis. This becomes even clearer in the second round of the introduction, when this regular march rhythm is set against the very free and fluid rubato of the trombone's recitative (richly and gloriously played). When the big March finally lets rip in all its wonderful Mahlerian banality, with Rattle it is a truly cathartic moment as the conductor gives the piccolos free reign to shout out the tune above the pandemonium.

The other movements will have to get rather briefer attention. The `Flower' movement has all the required delicacy with a scary edge to icy blast that whips across it. There is a truly magical hush that descends on the orchestra as the animal's listen to man's romantic posthorn intrusion and Rattle wisely and uniquely recognises that the accelerando at the end is written into the music and does not need artificial help. Birgit Remmert in the Nietzsche movement could be a little more mezzo, a little less soprano for my taste. And it is here that we find Rattle's controversial interpretation of Mahler's Naturlauten (Nature Sounds) on the oboe and cor anglais where he asks his instrumentalists to bend the notes up in a kind of woodwind glissando - perfectly justified, it seems to me, by the text. The choirs make glorious bells in the Wunderhorn movement and the final adagio glows and radiates while always kept moving. The last two pages of the symphony do not resort to the usual vulgar and exaggerated ritardando - only the very final note is sustained to the length befitting the conclusion of such a huge symphony.

EMI, presumably at Rattle's behest, carefully observe the pauses Mahler asks for between the movements - a long pause after the first movement, standard pauses after the next two and the last three played together attaca. Which, of course, makes of the symphony a classical four movement structure.

It should already be clear that the CBSO's playing and EMI's recording fully live up to Sir Simon's interpretation. There are certainly other strong contenders for a first choice for this symphony - Bernstein and the New Yorkers, Horenstein, Barbirolli for starters - but Rattle, as always in his Mahler, is never less than thought-provoking and often as here inspiring.

great singing, if nothing else (I like it).......2006-12-13

Once again, a decent Simon Rattle effort is underminded by less than stellar sound quality from his home label, EMI. Go figure! Several reviewers have complained about the sixth movement being too fast. But if you compare timings much, you'll see that Rattle's 22-something minutes is not that far off the mark from a number of other recent recordings. Even the famous Horenstein Mahler 3rd (outrageously over-priced) brings things home in less than 23 minutes. I think what these folks find objectionable is in the very last section of the adagio movement, where the two sets of timpani go back and forth on the tonic and dominant notes. Yes, it's executed relatively fast, but I rather like it. Sure it's a matter of preference, but I'll take this over the recent MTT/SFSO Mahler 3rd, where Tilson Thomas was positively glacial with the same concluding section. In fact, I find Rattle's pacing to be very good throughout the symphony. In addition, Birgit Remmert is quite fine in the vocal movements, and Simon Keenleyside is absolutely spectacular in the male-dominated Wunderhorn songs, included as a bonus at the end of the symphony. I have no doubts that EMI will eventually give this the "Great Recordings Of The Century" treatment - somewhat improving the sound in the process. Then you'll see that this is, in fact, a pretty decent Mahler 3rd by any account. You've heard worse - I know I have.

Rattle is the whole show.......2006-11-24

NOTE: Please ignore any undue number of negative reviews here. They are from an anonymous Internet stalker.

There's no disguising that the CBSO isn't the vienna Phil., and Mahler wrote his ysmphonies for a great orchestra, himself being the Vienna Phil.'s conductor. Rattle took a third-rate orchestra and made it into a very musical, eager, youthful ensemble, but the Mahler Third is a test they find hard to pass. If it weren't for his inspired conducting (as with Barbirolli and the Halle Orch.) I doubt that EMI would have released this Mahler Third. As it is, Rattle justifies every confidence--he knows his way aorund tis score and turns out to be more fluid and musical than, say Solti or Salonen.

A lot depends, therefore, no how much virtuosity you expect. Other reviewers dislike Rattle's light finale with its fast empo, but the real lack is the scrawny string sound of the Birmingham orchestra. If that's no a problem--for me it isn't--then this is a fascinating Third, as full of insights as Bernstein's famed 1961 account with the nY Phil. Rattle got a bit of coverage for inserting weird oboe glissandos in the slow movement, but they last only a few bars. The mezzo aoloist, Birgit Remmert, is very expressive, and the children's choir in the fifth movement holds up the British tradition of great choruses. In all, I would give this recording five stars if it weren't for the hasty finale and the daunting competition from Bernstein, Abbado, Levine, etc.

Last Movement is too fast!!!.......2006-07-28

The spoiling all of us have enjoyed RE: Bernstein notwithstanding, the last movement of this otherwise wonderful performance is simply too fast. Don't waste time with it, because you will not experience the full value of the magnificence of this final movement (and therefore of the entire performance) with this recording. The brass and wind playing are superb, but unfortunately, nothing can counter the blasphemy wrought on us by the galloping gait to the uninspiring finish. Bernstein still rules...!

Mahler: Rückert Lieder; Kindertotenlieder Nos1-5

Average customer rating:

An Obscure Star

Mahler: Rückert Lieder; Kindertotenlieder Nos1-5

Manufacturer: Berlin Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00000JIRT
Release Date: 1999-07-20

Tracks:

Kindertotenlieder: I. Nun will die Sonn' so hell aufgehn
Kindertotenlieder: II. Nun seh' ich wohl, warum so dunkle Flammen
Kindertotenlieder: III. Wenn dein Mein
Kindertotenlieder: IV. Oft denk' ich, sie sind nur ausgegangen
Kindertotenlieder: Kindertotenlieder: V. In diesem Wetter
Lieder Eines Fahrenden Gesellen: I. Wenn mein Schatz Heit macht
Lieder Eines Fahrenden Gesellen: II. Ging heut' morgen Feld
Lieder Eines Fahrenden Gesellen: III. Ich hab' ein glMesser
Lieder Eines Fahrenden Gesellen: IV. Die zwei blauen Augen
Feder nach R: Blicke mir nicht in die Lieder
Feder nach R: II. Ich atmet' einen linden Duft
Feder nach R: III. Ich bin der Welt abhanden gekommen
Feder nach R: IV. Um Mitternacht
Feder nach R: V. Liebst du um Schit
Vier Lieder aus 'Des Knaben Wunderhorn': I. Revelge
Vier Lieder aus 'Des Knaben Wunderhorn': II. Der Schildwache Nachtlied
Vier Lieder aus 'Des Knaben Wunderhorn': III. Der Tambourg'sell
Vier Lieder aus 'Des Knaben Wunderhorn': IV. Lied des Verfolgten im Turm

Customer Reviews:

An Obscure Star.......2007-01-10

American music lovers who haven't discovered (East) German baritone Siegfried Lorenz are in for a real treat by listening to this disc, which, along with Lorenz's Schubert recordings on Berlin Classics, reveals a world-class talent who merits comparison with the likes of Thomas Hampson and, in the Mahler lieder, even with luminaries Christa Ludwig and Janet Baker. The analog recorded sound is ideal. The only drawback is the lack of English translations of the lyrics.

Average customer rating:

INCREDIBLE!!
nearly just like the beatles

All You Need Is Live
Original Soundtrack
Manufacturer: Roy Davies Music
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music

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Nine Hours In November
Fried Glass Onions--Memphis Meets The Beatles
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Sgt. Pepper's Lonely Hearts Club Band

ASIN: B00004ZBE9
Release Date: 2000-06-01

Tracks:

I Saw Her Standing There
I Want To Hold Your Hand
Love Me Do
Please,Please Me
Do You Want To Know a Secret?
All My Loving
This Boy
Till There Was You
Eight Days A Week
A Hard Day's Night
I Should've Known Better
Nowhere Man
Can't Buy Me Love

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Twist And Shout
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I Feel Fine
Michelle
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Taxman
I'm A Loser
I Don't Want To Spoil The Party
Yellow Submarine
Yesterday
Help
Day Tripper
She Loves You
Dizzy Miss Lizzy
Long Tall Sally

Album Description

Music of Lennon/McCartney/Harrison and more sounding alot like the original invasion.All recorded "Live" to add to the excitment! Rolling Stone Magazine says that "1964"...The Tribute is the Number One Beatles Tribute Show on Earth!

Customer Reviews:

INCREDIBLE!!.......2007-04-15

This concert IS The Beatles NOTE FOR NOTE!!! You won't hear a single mistake! Their looks are fair, but UNIMPORTANT! It's the MUSIC, baby!! The best thing about this CD is you can hear the Beatles as they were meant to be heard in their "live" shows, but could not hear anything, because of the screaming fans.

The only thing better is to see 1964 The Tribute LIVE!! The only drawback to this CD and 1964 The Tribute, don't expect to hear any music outside of the 1963-64 era!

1964 The Tribute is the second greatest Beatle Band in the world, closely behind "The Fab Four" from S. California, who play Las Vegas regularly. But they don't have a CD for sale, so you'll have to see them live!

BUY THIS CD and BUY their other CD, "Nine Hours in November", which is a similiar, but a totally different take on the Beatles' early music, as it is a "rough, but excellent" studio takes, recorded in just 9 hours, song for song without stopping, just as the Beatles did in the early recording days. If you are expecting a note for note rendition on this one, you better buy "ALL YOU NEED IS LIVE!", instead.

BUY This CD!! and their other CD

nearly just like the beatles.......2006-07-03

it sound just like the orginal (the beatles) so to all beatles fans this is a very good beatles tribut

The Thomas Hampson Collection, Mahler Lieder, Volume 1

Average customer rating:

A modern classic--the young Hampson at his veyr best

The Thomas Hampson Collection, Mahler Lieder, Volume 1

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000000SRJ
Release Date: 1995-06-06

Tracks:

'Ging Heut' Morgen Uber's Feld' From Lieder Eines Fahrenden Gesellen, No.2 - Thomas Hampson/David Lutz
'Die Zwei Blauen Augen' From Lieder Eines Fahrenden Gesellen, No.4 - Thomas Hampson/David Lutz
Aus! Aus! - Thomas Hampson/David Lutz
Selbstgefuhl - Thomas Hampson/David Lutz
Revelge
Des Antonius Von Padua Fischpredigt
Der Tamboursg'sell
Das Irdische Leben
Das Himmlische Leben
Urlicht
'Es Sungen Drei Engel'
Ablosung Um Sommer
Ich Ging Mit Lust
Um Schlimme Kinder Artig Zu Machen
'Zu Strassburg Auf Der Schanz' - Thomas Hampson
Nicht Wiedersehen! - Thomas Hampson
Hans Und Grete - Thomas Hampson
Scheiden Und Meiden - Thomas Hampson

Amazon.com

This record presents Mahler's early songs in a new light, featuring the Songs of a Wayfarer in the original version with piano, 3 songs published only recently, and 11 songs in orchestrations by Luciano Berio. Supreme as conductor and symphonist, Mahler clearly had orchestral colors in mind when writing his piano accompaniments; his masterful orchestrations of many of them quickly inspired contemporary devotees to add their own, notably Robert Heger and Lothar Windsperger. Berio's arrangements are admirably Mahlerian in sound and style: skillfully using winds, harps, and drum rolls, he imitates bird calls, nature sounds, and military signals, underlining words and atmosphere and evoking both glittering colors and ominous somberness. Only occasionally does he succumb to the temptation to become too loud and lush. In two songs that appear twice, the simpler version is more affecting. Thomas Hampson, well-known as a distinguished Mahler interpreter, is superb. His voice is beautiful, impeccably pure, warm, and variable (he can carry on a conversation in two voices), his diction exemplary. He rather overdramatizes the Wayfarer songs, but his identification with every mood, character, and expression is complete throughout, from yearning, grief, and spine-chilling dread to lighthearted humor and irony. Pianist David Lutz supports him splendidly, and wisely does not attempt to imitate an orchestra in the Wayfarer selections. --Edith Eisler

Customer Reviews:

A modern classic--the young Hampson at his veyr best.......2005-09-27

Hampson has always been a major Mahler singer, and this CD collects some of his bes twork. I will leave it to the Amazon reviewer to tell the story of these arrangements and only say that the singing throughout was deeply satisfying. Beautiful, intelligent, and exciting interpretations ctching Mahler's style just right.

Average customer rating:

Fun, offbeat show

GUYS ON ICE Original Cast Recording
Original Aft Cast
Manufacturer: guysonice records
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

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ASIN: B0006L5P1M
Release Date: 1999-12-01

Tracks:

The Wishing Hole (Fred Alley and Doug Mancheski)
The Guy from TV (Doug Mancheski)
Ode to a Snowmobile Suit (Fred Alley and Doug Mancheski)
Everything is New (Fred Alley)
The King (Doug Mancheski, Fred Alley and James Valcq)
Things Ain't Like They Used to Be (James Valcq)
The One That Got Away (Fred Alley)
Fish is the Miracle Food (Fred Alley and Doug Mancheski)
What's Mine is Yours (James Valcq)
Your Last Day on Earth (Fred Alley and Doug Mancheski)
When on Thin Ice (James Valcq, Doug Mancheski and Fred Alley)

Product Description

This CD contains an entire performance of the musical hit, GUYS ON ICE, as performed in Door County, Wisconsin in the fall of 1999. At that time, the show was a one-act. (It was expanded into two acts in 2000.) The recording features the late playwright Fred Alley as Lloyd, Doug Mancheski as Marvin, and James Valcq playing the piano and appearing as Ernie the Moocher. Alley and Valcq created the musical of THE SPITFIRE GRILL.

Customer Reviews:

Fun, offbeat show.......2007-01-14

An ice fishing musical? A show about two guys in a hut on the ice? The best Wisconsin musical ever? Surprise, both the show and songs are pretty good.

Sure it's a little cornball with terse men (in the Lake Wobegon tradition) and lots of ice fishing jokes, but it's also clever, fresh, with fun, listenable songs, many of which have a depth and sweetness as unexpected parallels are drawn between ice fishing and life. The CD is not just the songs, it's (most of) the show. It was recorded during a performance so you hear the audience laughing at the jokes making it more fun. Recommended.

Minor quibble -- the CD description and liner notes claim it is the whole show, but I recently saw the show at a local theater in its New England premier and the beginning of the second act (circa 2007) is missing from the CD.

Rock Music:

Rock Music