Nova 1 [Import]

Product Description
An extremely underrated album which originally appeared on Decca in the U.S. in 1967. The band were students at the university of North Carolina in Chapel Hill. There break came when they opened for Chad & Jeremy at a campus charity concert. Nova 1 is classic late 60s light-psych with excellent vocals and harmonies, lots of organ and lots of fuzz guitar. Radioactive. 2004.

Tracks:

Fool to Cry - Moana, Scubba
Let's Spend the Night Together - Amazonics
Out of Time - Astrud C., Urban Love
Sympathy for the Devil [Pleased Remix] - Freedom Dub
Under My Thumb - Anakelly
(I Can't Get No) Satisfaction - Michelle Simonal
Harlem Shuffle [Favela Remix] - Banda Do Sul, , Marvin
Ruby Tuesday [The Dubby Mix][Mix] - Dual Sessions
Angie - Uschi, SVicente
Miss You [Back 2 Remixes] - Groove Da Praia
Start Me Up/Brown Sugar [Remix] - Corcovado Frequency
Wild Horses - Karen Souza

Tracks:

As Tears Go By [Luxury Strings Mix] - Ituana, SVicente
Jumpin' Jack Flash - Amazonics
Beast of Burden - Aneka, Urban Love
Emotional Rescue [2 Many Beats Remix] - Freedom Dub
Tumbling Dice - Dew, Scubba
Mixed Emotions - Michelle Simonal
Honky Tonk Women [Three Knocks Mix] - Groove Da Praia
Paint It, Black - Sixth Finger
She's So Cold [Ipanema@7" Mix] - Glambeats Corp.
It's Only Rock 'n Roll (But I Like It) - Banda Do Sul, Natascha
I'm Free [Wizard Edit] - Corcovado Frequency, Uschi
You Can't Always Get What You Want - Ituana

Album Description

Australian two CD set compiles both volumes of this popular series. Volume One is the compilation that started the Bossa Nova covers boom! Bossa N' Stones is an Electronic-tinged Bossa Nova treatment of Rolling Stones classics. They have assembled musicians and producers of different latitudes, who accepted the challenge of mixing the music of the legendary Rolling Stones, with the spirit of the Bossa Nova and contemporary electronics. Selections include classics such as 'Start Me Up', 'Satisfaction', 'Let's Spend The Night Together', 'Brown Sugar', a brilliant 'Sympathy For The Devil' and 'Angie'. After the success of the first volume (which has already gone platinum), Volume Two presents early hits like 'I'm Free', 'As Tears Go By' and 'Paint It, Black', as well as the major '70s numbers like 'Tumbling Dice', 'It's Only Rock N' Roll' and 'Emotional Rescue'. The album reaches forward into the '80s with 'Mixed Emotions', one of the highlights of the disc. 2007.

Album Details

Double Digipak Collection with Both of the Best Selling Volumes of Bossa Rolling Stones Covers in One Set! Pmb Records Gathered a Group of Musicians and Producers to Reinterpret the Rolling Stones Canon with the Spirit of Bossa Nova and Contemporary Electronica. The Results Proved to Be a Most Popular Concept in their Home Country of Brazil (Where They have Surpassed Platinum Selling Status) and Later around the World! with Its Alluring Cover Art, "Bossa N´ Stones" is a Unique Listening Experience and Presents a Fresh, Invigorating Perspective to These Beloved Rock Classics and is Not to Be Missed!

Average customer rating:

Not Thrilling
Good CD
Re-release of Il Solazzo
A good, simple bargain, with a sweet reward

Music for a Medieval Banquet

Manufacturer: Hmf Classical Exp.
ProductGroup: Music
Binding: Audio CD

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Sinners & Saints: The Ultimate Medieval and Renaissance Music Collection
Medieval Dance Music
Courts, Kings, & Troubadours: Medieval & Renaissance Music
Medieval & Renaissance Minstrels, Songs & Dances
Music Of The Crusades

ASIN: B00005A3WX
Release Date: 2001-05-08

Customer Reviews:

Not Thrilling.......2007-01-05

I have been online for 3 hours tonight reading Amazon's reviews of various medieval CD's. I really wanted to find a Waverly Consort CD comparable to their marvelous, magical, exuberant "A Waverly Consort Christmas," but nothing seems to match that one. I have a dial-up modem and for some reason none of Amazon's musical selections will play even though I have no problems with video games and music uploads from other sources. Thus, I have to rely upon written reviews.

Among the many albums for which I read reviews tonight was one for "A Medieval Banquet" by the Newberry Consort. The title & group rang a bell so I checked my collection and found that it was originally called *Il Solazzo" (as others have already noted among these reviews). I bought it in early 1995 but never wrote any comments in the attached booklet, which is unusual for me.

I have now played the CD twice and understand why I made no comments: it was simply not thrilling. I am no musicologist -- just someone who loves early music because it makes my soul sing. This CD is "nice," but my soul goes ho-hum when I hear it. (The one exception is the #9 selection with rebec, vielle & lute -- and no voices.)

The instrumentals have a certain charm but they generally feel more Renaissance than medieval to me. The vocals leave me completely cold. In some of the reviews I read tonight I came across the concept of "operatic" applied to some of this early music. I had no idea what the authors meant since there was no opera at such an early period. But in playing this CD, I understood -- there is indeed a bloated, elaborate vocal quality that really does feel "operatic." It seems entirely unsuited to "Music for a Medieval Banquet."

If your soul wants to sing, this proably isn't the CD for you. Try the Waverly Consort's "Christmas" along with a glass of fine wine

Good CD.......2004-04-30

One of the reasons why I bought this recording is the interesting choice of pieces, which range from the often-recorded instrumental dances to the less-known sung tracks.

When I played it, the first thing that struck me of this CD is the thinness of the sound in the dances. Although the performance is spotless, it lacks the body that other medieval-dance groups add to their sound - notably the older but still great Studio der Fruehen Musik. Is this an unfair statement? Perhaps - but these dances have been recorded so many times that it is only natural to compare versions.

Also, the use of percussion instruments would have been a nice touch, besides being perfectly historical. Then, a more varied instrumental arrangement may have been a good addition, especially in the longer numbers such as Chominciamento di gioia.

The other point that puzzled me is that in the first track (La Badessa), the singer sounds as if she is playing a losing game of catch-up with the instruments, which results in a mediocre performance of that particular piece. It is a pity, because the song is very catchy and the singer's voice is stylistically spot on.

Having said all this, the selections of songs and dances is first-choice, the performance is good and well researched and the CD remains one of the most played in my household.

Re-release of Il Solazzo.......2002-10-10

Just a quick note on this CD: It's a re-release of the Newberry Consort's "Il Solazzo" disc without the texts and with less nice packaging. Since that disc can be hard to find, this CD is welcome, but if you can find the other release cheaper it's a better deal.

A good, simple bargain, with a sweet reward.......2002-06-11

This simple little album reminds me of what it is that I love most about the Italian Renaissance - its barefaced passion and gut level power. So playful and raucous at times that I felt as if I were in a scene from Pasolini's irreverent "Decameron" and at other moments, so serene that I was in a chapter from Chaucer. The music is simple and unpretentious. Not resorting to gimmicks, they allow the music to be expressed in a way that it very probably was in the age when it reigned: unashamed, expressive, brazenly colorful and just a bit flamboyant.

So much for the performers. As for the producers...

On the downside, it is painfully obvious that they made this album on a shoe-string budget. That can be a good thing in forcing the artists to stick to the music's purity instead of hiring a team of sound engineers to make it "sound" better, but there is absolutely no documentation about the songs, other than their titles and playing times. A sickly-thin album insert has a blurb in English and Italian about polyphony, told in allegorical style, with each paragraph in an alternating language instead of one section in each language. Go figure! Maybe the AltaVista translator they used for free had a one-paragraph limit.

Tracks:

I. Allegro Con Brio
II. Largo
III. Rondo: Allegro Scherzando
I. Allegro Con Brio
II. Adagio
III. Rondo: Molto Allegro

Album Description

"I don't think I've ever heard Bronfman play better." - Gramophone

Born in Tashkent, Uzbekistan in 1958, Yefim Bronfman immigrated to Israel at the age of thirteen and later to the US, where he pursued his training at the Juilliard School and the Marlboro and Curtis Institutes under Rudolf Serkin, Rudolf Firkusny, and Leon Fleisher. Bronfman celebrated his international debut in 1975, accompanied by the Montreal Symphony Orchestra under Zubin Mehta. He soon acquired an excellent reputation as a pianist on the stages of the world's major concert halls. Highlights of recent years include concerts with the Berlin Philharmonic, the Chicago Symphony, and the Cleveland Orchestra, the Staatskapelle Dresden, the Gewandhaus Orchestra Leipzig, the Concertgebouw Orchestra Amsterdam, and the Vienna Philharmonic. Yefim Bronfman also gives regular piano recitals in the leading concert halls of the US, Europe, and Asia. As a chamber musician, he has collaborated with the Emerson, Cleveland, Guarneri, and Juilliard Quartets. Other long-term musical partners include Emanuel Ax, Yo-Yo Ma, Joshua Bell, Lynn Harrell, Shlomo Mintz, and Pinchas Zukerman. Bronfman became an American citizen in 1989. Born in 1936, American conductor David Zinman has risen to the pinnacle of his career in the last decade. His discography of over one hundred recordings has won five Grammys and two Grands Prix du Disque. Founded in 1868, the Zurich Tonhalle Orchestra is Switzerland's oldest symphony orchestra.

Customer Reviews:

Early Beethoven Concertos Beautifully Played.......2007-07-03

David Zinman conducting the Tonhalle Orchestra Zurich and pianist Yefim Bronfman have recently collaborated on a recording of Beethoven's five piano concertos and the triple concerto on the budget-priced Arte Nova label. In this recording of the first and second concertos, Zinman, his orchestra, and Bronfman are an ideal match. Zinman has become known for his period performances of Beethoven using modern instruments. His set of Beethoven symphonies has been highly acclaimed. His recording of Beethoven's Missa Solemnis has received mixed reviews, but I enjoyed it greatly. The performance of these concertos is crisp, articulate, boisterous, and ambitious. It brings out the drive, humor,originality and roughness-around-the-edges of early Beethoven. Yefim Bronfman is a powerhouse pianist. But he plays these early concertos idiomatically, lightly, smoothly, and with great flair.

Of Beethoven's five concertos, the fourth and the fifth are mature middle-period works. The third concerto, in C minor, is something of a hybrid between Beethoven's early and middle styles while concertos 1 and 2 are works of the young Beethoven. Beethoven did not compose a late-period concerto, but these five works offer an excellent way of tracking Beethoven's development from his early years in Vienna to his period of maturity. More importantly, they contain unforgettable music.

Beethoven composed the first two concertos for his own performance as a rising young composer in Vienna in his early to mid 20's. The earliest of his concertos is concerto no. 2 in B-flat major, opus 19. This work probably was written in some form before Beethoven moved to Vienna from Bonn at the age of 22. He revised and reworked it many times for his own use before publishing it at last in 1801. Beethoven described the work to his publisher as "A concerto for pianoforte, which, it is true, I do not make out to be one of my best. At the same time it would not disgrace you to engrave this concerto." The second remains the least-familiar of Beethoven's concertos.

Particularly in its opening movement, the work has a bumptious, patchwork quality, probably due to Beethoven's many revisions of the score as well as to his youth. But the work has lovely movements, particularly in its lyrical second theme and in the delicate runs and movement of the piano part. The highlight of the work is the Adagio, a flowing and serious slow movement which builds dramatic tension in long solo passages for the piano towards the end. The finale of the second concerto is a boisterous rondo with a short, catchy and humorously syncopated theme. If Beethoven was correct in regarding the concerto as "not one of my best" he was also right that the work did not put him or his publisher to shame. The work, which owes a great deal to Mozart and Haydn, well rewards hearing.

The piano concerto no. 1 in C major, opus 15 was composed in 1795 also primarily as a performance vehicle for Beethoven. This work is much more cohesive than the B-flat major concerto and was also published in 1801, several months after its companion. The opus 15 is a festive, high-spirited work, replete with tympani and trumpet as befitting an orchestral piece in C major. The opening movement features a range of themes, but it focuses on a march-like military phrase introduced at the outset by the orchestra and on a solo martial theme given to the piano. The piano part is full of filigree, long runs, trills and singing themes. Beethoven wrote a famously difficult cadenza for this early work. The largo, opens with a lyrical, reflective theme in the piano which is clung to and developed over the course of an extended movement, culminating in another floridly elaborate piano solo towards the end. The final rondo, which Beethoven is said to have composed in two days, is lively and rhythmical with some strongly accentuated dance themes as it proceeds. In this concerto, Beethoven comes into his own voice as a young composer while still building of the work of his great predecessors.

Zinman and Bronfman offer a thoroughly enjoyable and idiomatic performance of early Beethoven. This is a lovely disc and at its low price offers an excellent way to get to know and love this music.

Robin Friedman

George Enescu: Romanian Rhapsody No. 1; Suites 2 & 3

Average customer rating:

Good recording

George Enescu: Romanian Rhapsody No. 1; Suites 2 & 3

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

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George Enescu: Poème Roumain; Vox Maris; Voix de la Nature
Enescu: Romanian Rhapsody No. 2; Symphony No. 2
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Enesco: Roumanian Rhapsody no 2
George Enescu: Symphony No. 1; Suite No. 1; Intermède

ASIN: B000FII2IY
Release Date: 2006-06-13

Tracks:

Romanian Rhapsody No. l In A Major, Op. ll
Overture
Sarabande
Gigue
Menuet Grave
Air
Bourree'
Renouveau Champetre
Gamins En Plein Air
La Vielle Maison De L'enfance, Au Soleil Couchant
Riviere Sous La Lune
Danses Rustiques

Album Description

George Enescu (1881-1955) is still remembered today, fifty years after his death, as Romania's greatest classical composer. He was also a virtuoso violinist. His many works in numerous genres remain largely unknown outside his native land except for the immensely popular Romanian Rhapsodies, but they deserve wider circulation in view of the beauty of their melodies, their brilliant orchestrations, and their strong characterization and originality. This recording offers two of Enescu's orchestral suites in addition to the beloved Rhapsody No. 1. Dancing vivacity and colorful instrumentation are characteristics of these effervescent orchestra pieces. The Romanian Philharmonic Society was founded in 1868. Its conductors have included significant figures in Romanian music not to mention Enescu himself, whose name the orchestra incorporated into its title in 1955 as the George Enescu Bucharest Philharmonic. The current conductor is Cristian Mandeal, who studied with both Karajan and Celibidache. He has conducted numerous major orchestras and more than forty world premieres.

Customer Reviews:

Good recording.......2007-02-11

I bought this cd mainly because it was a CD with only the music of Enescu, and I wanted to hear some more of his orchestral music and it had a Romanian group performing the 1st Romanian Rhapsody. This recording is very good for the most part, nice tempi and execution of the Romanian folk charateristiques. My only complaint is that in some sections, there are some intonation issues mostly noticable in the clarinet part (and the horns), which isn't bad but it sticks out and draws attention away from the good performance it is. There seems to be a slight blance issue between the winds and strings in some parts, which might correlate to the location the microphones when the cd was recording. This is a good recording, and the price makes this cd worth the purchase. It is good to hear a Romanian orchestra playing this beautiul work. Toata Buna!

Average customer rating:

BEFORE BOSSA NOVA
Not only musicly great but also a historic recording
After 55 years I'm still dazzled by this album

Brazilliance, Vol. 1
Laurindo Almeida with Bud Shank
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

Cuba | Caribbean & Cuba | International | Styles | Music

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Bossa Nova | Latin Music | Styles | Music

Brazilian Jazz | Jazz | Styles | Music

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Brazilliance, Vol. 2
Brazilian Soul
Stan Getz with Guest Artist Laurindo Almeida
Best Of Laurindo Almeida & The Bossa Nova All-Stars
Duets with Spanish Guitar

ASIN: B000005HH3
Release Date: 1991-05-07

Tracks:

Atabaque
Amor Flamengo
Stairway To The Stars
Acertate Mas
Terra Seca
Speak Low
Speak Low (Alternate Take)
Inquietacao
Baa-Too-Kee
Carinoso
Tocata
Hazardous
Nono
Noctambulism
Blue Baiao

Customer Reviews:

BEFORE BOSSA NOVA.......2006-10-06

BEFORE THERE WAS JOBIM, GILBERTO, OR GETZ, THERE WAS THIS MUSIC, WHICH WOULD LATER BE COINED BOSSA NOVA MUSIC. RECORDED IN 1953, THIS RECORDING WAS AT LEAST TEN YEARS AHEAD OF ITS' TIME. GREAT ALBUM, IF YOU LIKE THIS YOU HAVE TO GET VOLUME TWO AS WELL.

Not only musicly great but also a historic recording.......2005-01-07

As the other reviewer says, this is an awesome recording. Whats worth noting also is that this is also probably the first bossa nova recording ever done (or at least a recording of brasilian songs that most closely match bossa nova and what it will be). These were recorded long before (7 years or so) Jobim and Joa gilberto recorded and 10 years before the great getz/gilberto recording wich started the bossa nova craze. Truly great for bossa nova or brazil music collectors.

After 55 years I'm still dazzled by this album.......2000-09-27

My very first Bossa Nova album, I bought this while in high school on 10-inch LPs. Effervescent, light, joyous, romantic -- everything you dream Rio de Janeiro could be. It's more of a precursor to the Antonio Carlos Jobim Bossa Nova explosion a few years later. But Bud Shank and Laurindo Almeida picked up on the potential for fusing jazz and the samba early on. I'm not a musician, but I know this album is pure genius. The soft sax and vibrant guitar will dazzle you. The interwoven rhythms of sax, guitar and drums go on and on. My favorite track is "Stairway to the Stars." Still gets me dreaming. They tried to follow up with a second album -- Braziliance II -- but it never achieved that spark of divine fire the first one did.

Brazil Classics, Vol. 1: Beleza Tropical

Average customer rating:

Prepare to Be Mesmerized
still love it after 15+ years
This disc introduced me to Brazil
Not a New CD
one of my desert island CDs

Brazil Classics, Vol. 1: Beleza Tropical
Various Artists
Manufacturer: Luaka Bop
ProductGroup: Music
Binding: Audio CD

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Beleza Tropical 2: Novo! Mais! Melhor!, Compiled By David Byrne
Clube da Esquina
Pure Brazil: Caipirinha
Samba Brasil
Putumayo Presents: Acoustic Brazil

ASIN: B0000DB51P
Release Date: 2005-03-22

Tracks:

Ponta de LanAfricano (Umbabarauma) - Jorge Ben
Sonho Meu - Maria Betha, Gal Costa, ,
Sero Um XodGilberto Gil, Caetano Veloso
Um Canto de Afoxara O Cloco de IlIly- Caetano Veloso
O Leinho - Caetano Veloso
Caa - Chico Buarque
Calice - Chico Buarque, Milton Nascimento
Equatorial - Lrges, , Borgues
San Vicente - Milton Nascimento
Quilombo, O el Dorado Negro - Gilberto Gil
Caramba! ... Galileu da Galil - Jorge Ben
Caixa de Sol - Nazare Pereira
Maculele - Nazare Pereira
Queixa - Caetano Veloso
Andar Com Fe (To Walk With Faith) - Gilberto Gil
Fio Maravilha - Jorge Ben
Anima - Milton Nascimento
Terra - Caetano Veloso

Customer Reviews:

Prepare to Be Mesmerized .......2006-09-23

I was given this album by a friend. I'm not a connoisseur of international music, but I must say I was instantly captivated by this musical compilation. The songs have a catchy, relaxing quality to them.

still love it after 15+ years.......2006-03-29

I bought the original about 15 years ago in cassette tape form
(yeah, I am getting older:). Even though I agree that Byrnes should have updated it with younger and more current artists, these classic songs still move me.

This disc introduced me to Brazil.......2006-03-16

What a great CD. I have all of Byrnes Brazilian discs and wish he would issue more. He really captured what makes Brazilian music great with his first three discs in this series. Still, this one is really special. The fourth and fifth disc in this series are dedicated to the artist Tom Ze who is brilliant in his own weird way. This first disc makes you just want to dance all over your living room. I wish Byrne would release more. Of course I now have a lot of the cds by the original artists, but this is the one that hooked me. Buy and enjoy.

Not a New CD.......2005-03-29

Why continue to recycle a CD that is now roughly sixteen years out of date? Yes, it is a great compilation, or, at least, it was in 1989, but times have changed. Maybe somebody should talk Byrne into updating this CD once again, as he did in 1999, with a new compilation or two or six. There are about a score of styles and literally dozens of artists in Brazil who deserve recognition for the music that they are making now. And it is somehow odd that while there is not exactly a shortage of Brazilian compilations out there, most of those efforts have a regretable tendency to recycle yesterday's headliners. How about a fresh compilation that includes such diverse artists as Djavan, Cibelle, Autoramas, Silvia Torres, Monica Salmaso, Carlinhos Brown, Vinicius Cantuaria, Helena, Trio Da Paz, Charlie Brown Jr, Rita Ribeiro, Fernanda Porto, Seu Jorge, and about, oh, fifty others. All are interesting artists making incredible music, and all are making that great music in the 21st century.

one of my desert island CDs.......2004-10-12

I've owned this CD for over ten years and it remains one of my favorites. The Brazilian music featured here manages to be both instantly accessable and yet at the same time exotic and new, from the stripped-down funkiness of "Ponta de Lança Africano" to the majestic "Equatorial" to the melancholy harmonies on "Fio Maravilha." I suppose the reason for this is the fact that these artists grew up immersed in their rich musical traditions, but at the same time they were exposed to the music of the Beatles, Simon and Garfunkel, James Brown, etc. I don't like most of what falls under the "world music" umbrella, but this collection really hits the spot for me.

Also worth mentioning are the excellent liner notes and bilingual lyrics. Honestly, my only complaint is that this CD inspired me to go out and look for more Brazilian music but I've been unable to find anything else that I loved as much as this.

Average customer rating:

Schumann in Bite-Size Bits
Schumann singing out afresh
Bracing Schumann: poetry + poise + heart
OK, and not the first set to dust off traditions
The Finest Schumann Symphonies Collection Available

Robert Schumann: Symphonies Nos. 1-4

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0007PLKS4
Release Date: 2005-03-22

Tracks:

I. Andante Un Poco Maestoso
II. Larghetto
III. Scherzo: Molto Vivace
IV. Allegro Animato E Grazioso
I. Sostenuto Assai
II. Scherzo: Allegro Vivace
III. Adagio Espressivo
IV. Allegro Molto Vivace

Tracks:

I. Lebhaft
II. Scherzo: Sehr Massig
III. Nicht Schnell
IV. Feierlich
V. Finale: Lebhaft
I. Ziemlich Langsam
II. Romanze: Ziemlich Langsam
III. Scherzo: Lebhaft
IV. Langsam. Finale: Lebhaft

Album Description

"Excellence at this level serves only to renew our faith both in the vitality of the classics and in the ability of today's interpreters to triumphantly stand toe to toe with the greatest recorded documents of the past." (10/10 rating!)-CLASSICS TODAY

"In this cycle of the Symphonies with the Zurich Tonhalle Orchestra, Zinman reveals Schumann every bit as great as his friends Mendelssohn and Brahms and nearly as great as his idols Schubert and Beethoven. In Zinman's hands and as realized by the Zurich Orchestra, Schumann's First is charming and courageous, his Second is darkness and fright, his Third is awe and delight, and his Fourth is darkness to light. The Zurich Orchestra plays with a strong, warm tone and deep, radiant colors. Arte Nova's sound is richly detailed and lushly reverberant. One of the great Schumann cycles. Anyone who loves Schumann's music or German Romantic symphonies will love these discs." -ALL MUSIC GUIDE

Customer Reviews:

Schumann in Bite-Size Bits.......2006-05-18

I read the superlatives about this set and ordered it. It has very precise sound, very precise playing and it is all just so tidy and neat I can't enjoy it. The music lacks sweep, grandeur and passion. It seems to be measured out into bite-sized pieces or maybe teaspoons, a la Prufrock. Every digitized bit is precise, serially neat and easily digested, meaning the music lacks continuity and sweep - yes, sweep. I feel I am reading a book intended for a seventh-grader. I suppose one could get away with playing Haydn this way, but not Schumann. I will make the ritual recitation that I am familiar with von Karajan's set, Gardiner's, Muti's, Bernstein's second set, Szell's, Solti's, as well as Sawallisch's. Sawallisch is still my favorite, by far. Sawallisch brings you music that is voluptuous and glorious in its romanticism and accomplished musicality. I can't imagine any among the available crop of renditions making Schumann himself happier than Sawallisch's might, with the Dresden Staatskapelle - a precise but powerful instrument. Playing his set is like finding a long-lost lover. On a gorgeous spring day, full of promise and sunshine, Sawallish's Rhenish symphony takes me as far as recorded music can toward the world Schumann rendered into music. Zinman is a gifted conductor and his set is well-recorded but I don't want to play it any more. I'm glad it was not expensive.

Schumann singing out afresh.......2006-01-25

I have already had in my collection for a few years David Zinman's recording of all four Schumann Symphonies with the Baltimore Symphony Orchestra on Telarc, and I thought those were just fine. They have a natural flow and balance, and a very nice kind of polish (helped by the Telarc technicians). 'Civilized' is what springs to mind, but with a touch of Romantic grandure.
Now these new recordings with the Tonhalle Orchestra Zurich are maybe even finer - at least different; even more zestful, more energetic; and also more relief in the soundpicture. The balances here are somewhat shifted, mainly that instruments/instrument groups and accents are often more pronounced, which makes the music sound even more fresh and lively, more in the vein of a period instrument performance, but then played with a combination of both modern and period instruments. (Period instruments are used for: horns, trumpets, alto trombone, tenor trombone and bass trombone; violins, violas, cellos, double basses, flutes, oboes, clarinets and bassoons are modern.) The best of both worlds, surely; whoever thought this up must be a d*mn genius, for it all blends perfectly and it all sounds completely true and natural. The First or 'Spring' Symphony (maybe the high point of this cycle) has maybe never sounded so invigoratingly fresh!
This freshness of playing is surely also helped by the crisp and direct recording, which is maybe even better than for Telarc: a little clearer and a little more acoustic space around the instruments. And also, everywhere the speeds are (almost) all consistently faster. I like that; it never sounds hurried to my ears. On the contrary, to my (amateur) ears these more 'pressing' speeds underline the consistent genius of Schumann and make these works sound like the coherent masterpieces that they undoubtedly are. And at the same time Zinman and the Tonhalle Orchestra Zurich invigorate the music with new energy and freshness.
This newly recorded cycle is a gem (not even considering the impossibly low price for which it sells!). I have done a long time with Zinman's earlier Baltimore set - which I still love -, and with this new addition I really will not be needing anything else for a very long time ... IMHO Schumann really is one of the greatest symphonists, and it is proved here - again - by Zinman. Simply wonderful!

Bracing Schumann: poetry + poise + heart.......2005-12-04

Anyone who has heard and appreciated Zinman's complete set of the Beethoven Symphonies with the Tonhalle Zurich, will get the point of this new issue, a complete set of the four Schumann Symphonies, again with the Tonhalle.

Zinman isn't afraid of setting tempos whose speeds are more commonly met by period instrument groups. As with the Beethoven readings, he uses newly edited sources, and plays everything to the hilt. The Tonhalle seems quite reduced in size in these recordings, such that strings zip along in an altered balance with brass and with woodwinds, compared to the older, slower, heavier performance manner most world orchestra's inherited from the nineteenth century bands (who tended to play in larger and larger halls as time passed and the middle class flocked to concerts as to social occasions).

Any past muddiness in the orchestral texture simply disappears in this edition. This clarity of texture is enhanced further with the genius of Zinman's verve. In some passages, chamber music textures are easily achieved, making you revise your opinions of Schumann's orchestral genius. Even going full tilt, Zinman keeps the touch light and lively and agile.

You feel as if you are meeting the young Schumann for the first time, especially as the First Symphony takes off. He has a glint in his eye, does this fellow. Small wonder that Clara's father realized he'd better rope off this visitor a bit around his daughters. This is the kind of Spring season that makes you want to leave the house, without a coat, finally unencumbered by winter. Let fall, all cold weather reticence, and heavy clothing. Depending on just how young you feel, this first symphony may make you want to strip down further, just to feel the Spring breezes on your skin in places where polite musical conversation isn't exposition, but falls back into a murmur, musing out loud about nothing and everything lovely in particular.

Fortunately, even with all this lightness and the reduced size of the Tonhalle, there is still enough weight to make the stronger musical points, though without the kinds of heavy, Romantic indulgence we have sometimes accepted as the norm. Indeed the alleged heaviness of Schumann's orchestrations is nowhere in evidence here. A quicksilver metamorphosis inhabits this music, and Zinman almost uniquely let it play among the high gifts of each department of the Tonhalle orchestra.

Continuing through the remaining three symphonies, Zinman just keeps making fresh magic in his performances of each of the remaining three. The second symphony's slow movement (for example) isn't the least bit ponderous, but doesn't lose one ounce of its lyrical heart in the alchemical process of its lightening. In fact, with the more transparent orchestral textures Zinman crafts with his marvelous Tonhalle players, you hear many passing moments of felicity in woodwind or string phrasing. These moments are there, too, in the older, heavier performances; but just easier to hear with Zinman. Can it be that Zinman will help you hear and re-hear your older Romantic readings of these symphonies? Seems possible, if you pay attention to the lessons he is teaching.

With the Third Symphony, Zinman manages to bring more shadow, more seriousness to phrasing. Tempos slow down, ever so slightly, so that maestoso can be conveyed, rhetorically. Zinman and band also pass the critical feierlich test in the odd movement, said to have been evoked on the occasion of a holy elevation of an archbishop at Cologne Cathedral. Throughout the horn and brass are burnished, with solos that carry drama and narrative substance. While in the first two symphonies the horns and trombones were blended more with the other brass and woodwinds, their special Solemnity is captured here, even with reduced forces. The slow movement, preceeding the feierlich one, is another miracle of musical inflection and phrasing, without for one second sounding indulgent or mannered. The spirit of chamber music is revealed in this music, every bit as much as the spirit of the symphony.

The Fourth Symphony provides a fitting conclusion to the set. I found myself wishing that Schumann had had more confidence in himself as an orchestral composer, so fetching is the music made throughout this set of four. Who wants it to end? But end it does, with Schumann setting out the ground rules for innovative cyclical form in music; lessons not lost on many of his contemporaries and descendants. As it happens, the added maestoso touches heightened in the second and third symphonies, continue into and throughout the Fourth. The tempo changes no longer seem so awkward, and a contrapuntal depth of story consistently emerges via the enabling consensus of the players.

Truly, there are other valid approaches to Schumann. I will still return to the shelf where sit older, prized red book CD performances. Sinopoli and Vienna doing the Second Symphony. Haitink and the Concertgebouw doing all four. And, can it be? Zinman and Baltimore on pre-SACD Telarc show how to play these symphonies with something like the old, burning Romance. I also listen to Solti, Kubelik, Karajan, Klemperer, Mehta - and as they become available again, James Levine with the Philadelphia Orchestra.

The nice thing is, at this price, you really don't have to do without much except maybe a few pricey Lattes, just because you purchased this set. The sound is good enough to completely get out of the way of the music, letting you hear everything Zinman and Tonhalle are doing. The hall isn't especially present, except in those larger moments when it resounds, and the venue point is made.

Five stars, stars, stars, stars. Highly recommended. Do check out the earlier Zinman with Baltimore, now newly released on midpriced Telarc. And do look out for James Levine/Philadephia as they re-appear.

OK, and not the first set to dust off traditions.......2005-09-26

This is an decent set and a good recommendation but after a few more listens I would rewrite this and downgrade it a star and a half (something you can't do when you re-edit a published review).

PRIMARILY

It's getting a bit tiresome reading reviews of new Schumann where each new entry "finally gets it right" or "reveals new and deep insights into Schumann's music" or other such rubbish. Szell's old set is great, Bernstein's first set is terrific, Paray's ancient recordings on Mercury are a revelation, and plenty think Furtwangler's Fourth is amazing. Then there's the completely unknown recent set with Florian Merz and a Dusseldorf orchestra--totally nutty and fun. There're plenty more, including Harnoncourt's readings that at times are transcendental.

Think about it. If Schumann was the incompetent, psychotic, lame-o that many paint him to have been, then why in heck did so much of his music, and especially these symphonies, stay in the repertoire for so danged long? I seriously doubt 150 years of playing "mud" (as many have described his so-called bad orchestration) would have endeared his music to too many. I seriously doubt that great conductors of previous generations couldn't have figured out how to make this music sound right; that it took a Gardiner or a Zinman to finally make sense of it.

Also, enough with the "crazy" thing. Bruckner was OCD big-time and nobody feels obliged to mention that in every review of a Bruckner symphony. Plenty of other great artists have gone bonkers and we let it go. To listen to Schumann looking endlessly for symptoms of bi-polarity is a waste of time. Sonata form is, almost inherently and by definition, "bi-polar." Exciting or emotional music is not "mania." Enough already.

[Added note: I'm bothered by the growing "hysteria" over some newer recordings that are, with reflection, competent and entertaining--like these--without being spectacular. I sense, and hopefully I'm wrong, a generation of listeners who haven't heard a lot of the old masters conducting or are, worse, avoiding them because of earlier recording technology limitations. I'm one of those grouches who argues that a grizzled German conductor who played skittle with Richard Strauss and drilled his orchestra like a Prussian officer may have had an edge--interpretation-wise--over, say, some modern 38-year-old suburbanite Julliard grad or similar who is wrapped up in a lot of PR and promotion hype. Sorry, but a wunderkind like Simon Rattle is not going to plumb the depths of Mahler as well as Bruno Walter, who was Mahler's assistant. The standard repertoire is, historically, fading fast, and with few exceptions (Shostakovich's, Britten's) there aren't many acknowledged and frequently played masterpieces after Bartok wrote the Concerto for Orchestra in the 1940s. Scary but true. So we're looking at a generation of conductors rapidly getting out of touch with the bulk of great Western art music]

The Finest Schumann Symphonies Collection Available.......2005-09-26

David Zinman keeps a low profile and aims all of his energies toward making music, and 'making music' is precisely what he accomplishes in this set of all four of Robert Schumann's symphonies. While there are other individual recordings and some complete collections of these works that have found favor with the Romantic audience, this set provides Zinman and his Zurich Tonhalle Orchestra the access to the top of the mound!

Schumann's life and work are the topics of many poets, writers, critics, and scholars and at times his melancholia and sad demise overshadow his exemplary compositions. While most accept him as one of the most important lieder composers, standing proudly beside Schubert and Hugo Wolf, his symphonies are often consider passé. But Zinman and his orchestra grandly demonstrate that far from being secondary works, these four symphonies rival the majesty and imagination of Brahms, Mendelssohn, and even Mahler and Beethoven? Heresy? Just listen to these very alive, illuminating readings of these forward looking works and hear your ears and heart change their minds.

Each of the four works stands equally, though many (as this listener) may find the treasureable Spring Symphony (No. 1) the crowning performance. Zinman favors brisk tempi, clarity of phrasing, and the rapture of the Romantic vision and the result is simply some of the finest orchestral playing and sound on recording. Add to this the inexpensive price tag for this 2 CD set and there leaves no reason not to build your library with works that deserve a prime position. The recorded sound is rich and full while delineating every detail and nuance. Highly Recommended. Grady Harp, September 05

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Wonderfully fresh
Great -- All Around
Old (but Very Fine) Wine, New Skins--A Revelatory Listening Experience
Much-needed fresh interpretation of the overtures

Beethoven: Complete Overtures

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Triple Concerto; Septet
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Beethoven: The Nine Symphonies

ASIN: B0007X9TKC
Release Date: 2005-04-12

Album Description

"Of course this is what Beethoven is supposed to sound like. All the warmth, the breadth, the depth, the height, the solemnity, the hilarity, the agony, and, of course, the wild-eyed ecstasy that are in Beethoven in these performances of his complete Overtures by David Zinman leading the Tonhalle Orchestre Zurich. As Zinman proved in his cycle of the nine symphonies, he knows Beethoven, knows his music and his moods, knows when to hold back and when to let loose, when to dance and when to sing in blissful rapture. In his cycle of the 11 overtures, Zinman soars with Die Geschöpfe des Prometheus, rails with Egmont, roars with Coriolan, and laughs with König Stephen. Zinman is as heroic as Fidelio, as passionate as Leonore, and as countrapuntally intoxicated as Die Weihe des Hauses. The Tonhalle Orchestre, which showed itself an adept and powerful Beethoven orchestra in the symphonies, once again shows its colors, its strength, and its tenderness in the overtures. ! Arte Nova's sound is deep, lush, and real."-ALL MUSIC GUIDE

Customer Reviews:

Wonderfully fresh.......2007-06-06

David Zinman and his Tonhalle Orchestra of Zurich deliver what is, hands down, the best overture to the Ruins of Athens on disc. Zinman opens the work with great energy at a quick tempo - those of us familiar with Masur's slow and stately introduction will certainly feel as if they are hearing this familiar music for the first time. The oboe cadenza is delightfully zippy as Zinman plunges headlong into the allegro proper with such authoritative vitality that one almost feels foolish for not liking this work more, slight though it is on musical argument. Horns wail, strings dig, and winds bite in this marvelous traversal. This performance gave me several impressions. First, how nice it is to hear Beethoven (here and in his traversal of the symphonies) with smaller forces married to historically informed performance practices - hard mallets for the timpani, violins divided stereophonically, winds forwardly balanced. It has a tremendous amount of textual clarity which enhances the musical argument in no small part. Secondly, how impressive that even two hundred years after some of these pieces were composed they can still be played to the hilt with fresh energy and conviction. Even with the reduced string section, I would be curious if anyone could find other versions of these overtures with this much vigor. And finally, as always, its wonderful to hear a music director and his orchestra bring something new to familiar music, all the while maintaining the highest performance and musical standard. And the love both Zinman and the Tonhalle have for this music is immediately palpable.

The same level of energy Zinman brings to The Ruins of Athens runs throughout the entirety of this two-disc release. Prometheus certainly benefits from the scaled-down proportions of the orchestra, finding the perfect balance between classical grace and Beethoven's rougher energy. Coriolan is just as bit as convincing, free from the overly-romanticized patina that this work has amassed over the years. The Overture in C receives a particularly convincing interpretation. Listen to how Zinman maintains tension throughout the overly-repetitive music and certainly makes the most sense out of the often odd-sounding scales at near the end of the piece. It just goes to show that even less convincing works can sound convincing when played with this level of conviction. Fidelio is another winner, a performance of lively grace but imbued with appropriate power.

The Consecration of the House is a delight. Zinman shapes a cogent and appropriately Baroque sounding opening to the piece and, although the trumpets are a bit reticent in their fanfares, the textual clarity of it all is quite refreshing. The allegro certainly benefits from the antiphonal violin placement, a reading of uncanny transparency, culminating in a roaring conclusion. I still have the slightest preference for Masur's performance and no one can match Charles Munch's Boston Symphony reference interpretation in this work, but all in all it is simply a matter of taste and certainly Zinman offers steep competition. Zinman's reading of King Stephen is one of balanced, proportional energy befitting its classical nature but, when all is said and done, I still prefer Szell's all-or-nothing Cleveland traversal, which possesses unbelievable physicality. As for the three Lenore Overtures, Zinman's approaches are period appropriate, but it is slightly difficult to listen to Lenore No. 3 in this leaner state. I still prefer Gunter Wand's performance, one of almost excessive weight and physicality, but the excitement is unquestionable. Egmont again is wonderful, but seems slightly undernourished when compared to the competition. But preferences aside, Zinman's interpretations are as convincing as ever and offer tremendous musical nourishment.

Recorded sound is excellent throughout but the microphone placement seems to differ from work to work. In the performances where the orchestra is most distant, the horns can often sound recessed and slightly pinched (such as in Prometheus and Fidelio) or the timpani overly reverberant (Overture in C). Still, the playing is uniformly spectacular and these are small quips that in no way detract from the listening experience and become less noticeable after repeated outings.

This set is certainly a welcome addition to a field that, until now, had virtually no competition. That Masur's performances were uniformly splendid made the dearth of great Beethoven Overture compilations less frustrating, but this set, in modern sound with period performance techniques, is almost self-recommending. Comparing Masur to Zinman seems unfair as both offer so much and say such individual things that I could not imagine having one over the other. This is a welcome addition to the catalog, one that no Beethoven fan should be without.

Great -- All Around.......2006-01-16

Wonderful recordings. Great musicianship and superb sound. A real joy! Highly recommended.

Old (but Very Fine) Wine, New Skins--A Revelatory Listening Experience.......2005-11-22

Beethoven's great overtures need no special pleading, and yet David Zinman gets down so effectively to where this music lives that in some cases, it is like hearing a thrice-familiar work for the first time. Even the Zur Namensfeier Overture, easily the least distinguished of the pieces collected here, has both sparkle and bite in Zinman's reading. The similar but much finer King Stephen Overture is always a smile-inducing surprise among Beethoven's dramatically charged overtures, given its simple joviality. Here it smiles with a youthful freshness that you don't hear in every interpretation.

The most revelatory performance for me, though, is of the Coriolan Overture, a darkly brooding piece that usually seems a bit dour despite its obvious craftsmanship and the undying memorability of its poignant second melody. Zinman succeeds in bringing out the fiery drama in this piece, which seems more often to smolder than to burn outright. Zinman's is a truly captivating performance and will be the way I choose to hear this wonderful work from now on.

Another piece that can seem pedantic and overwrought, The Consecration of the House Overture, is in Zinman's hands perfectly proportioned. Here as elsewhere, Zinman is faster than a lot of conductors but without sacrificing any of the grandiosity of this very grand piece. The one place where I'd say he rushes things too much is in the slow introduction to Egmont: the "quasi allegro" at which he takes the opening fails to provide contrast to the true allegro that is to follow. A small misstep given the many, many felicities of this set. Overall, in fact, it should let you hear these tried-and-true masterworks with a new set of ears.

In writing of Zinman's Beethoven Symphonies series, some critics have complained that the Tonhalle Orchestra produces an anemic sound. I don't hear evidence of that on these discs. There is real heft in the lower strings at the start of the Zur Namensfeier and Egmont Overtures, and the consciously "big" pieces such as the Leonore 2 and 3 and The Consecration of the House Overtures have a proper Beethovenian robustness. Sometimes, I'd say, the horns sound overtaxed, but just as often they produce a blaze of glory for Zinman. So I can't find any great objection to the playing of this mostly very fine orchestra.

I also like the sound the engineers have captured in the lively Tonhalle. It provides depth as well as detail: there is sheen to the high strings; punch and heft to the brass, timpani, lower strings.

In fact, I like just about everything these discs have to offer, including their super bargain price.

Much-needed fresh interpretation of the overtures.......2005-06-12

Surprisingly, there are relatively few choices currently available when it comes to complete collections of the Beethoven overtures, long part of the standard repetoire of any respectable orchestra. The Masur/Leipzig collection has been around for about 30 years, but until Zinman's collection was released this year, it has been pretty slim pickings.

At first, I did not know quite what to think, because Zinman offers a much leaner, fast-paced interpretation of nearly every overture. On average, his tempi are over a minute faster than the more traditional tempi of Masur's, which means that the Tonhalle Orchestra is really on a brisk clip. The orchestra's sound is also considerably lighter than one might expect (unless you are dealing with Gardiner & his period instruments, who have not yet recorded the overtures as far as I know). Whether this a result of reduced personnel or careful mike placement, I don't know, but the result is a much less heavy sound than what normally hears.

Initially, I did not care for what I found to be unfamiliar, but the more I listened, the more Zinman's tempi made sense and the more accessible these overtures became. Also (unlike Masur's edition), the three Leonore overtures do not run consecutively which is to the overall benefit of the collection. There are occasional moments of weakness in the horns & the violins, but they are brief and do not particularly detract from the performances. The recording appears to be a little bass-heavy at times, but not oppressively so; most of the time the sound has a light freshness to it that is most pleasing to the ear.

It also doesn't hurt that Arte Nova has made these CDs dirt-cheap. A mediocre performance for this little money could be easily forgiven; it is made all the better that these performances are top-notch. Anyone who loves Beethoven overtures (and who doesn't?) would be mad to overlook this collection.

Haydn, Hummel, David, Wgenseil: Concertos for Trumpet & Trombone

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Haydn, Hummel, David, Wgenseil: Concertos for Trumpet & Trombone

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007X9TSE
Release Date: 2005-04-12

Album Description

"ALERT AND INVIGORATING PERFORMANCES OF TWO OLD FRIENDS: The subtle inflections Jeffrey Segal brings to the trumpet's only genuine Classical concertos, the Haydn and Hummel, is just what the catalogue needs. His musical line is seamlessly stylish, velvety in its natural lyricism and boasting an attack as clean as a whistle.

Both works are blessed with gorgeous orchestration although its essence is habitually under-explored in most recordings. But not with David Zinman and his characterful Zurich players who relish the dialogues between wind and trumpet in the Hummel and an unforced transparency of strings in the Haydn, as well as delighting in lively and unpredictable articulation. It really is a testament to how a vigorous imagination can still render old warhorses afresh. Brass specialists will also enjoy the original E major key of the Hummel (unrecognised in the documentation) which makes sense of the irradiating textures...Bertoncello's legato playing is truly melting and the buoyant Allegro lifts the spirits." -GRAMOPHONE (March 2005)

Australian-born Jeffrey Segal was performing professionally as a trumpeter by age 17. A student of the legendary Edward Tarr, he became solo trumpeter with the Lausanne Chamber Orchestra in 1991. He became principal trumpet of the Tonhalle Orchestra, Zürich, in 1996.

Also from Australia, Michael Bertoncello took up the trombone at age 13, after studying the euphonium for six years! Bertoncello soloed with all the Australian orchestras, then the Civic Orchestra of Chicago and the Tonhalle Orchestra, Zürich, where he was named principal trombonist in 2001.

Tracks:

Tico Tico - Paquito D'Rivera
Stompin' At The Savoy - Johnny Frigo/Bucky/John Pizzarelli
Viola Fora De Moda - Ana Caram
Club De Sol - David Chesky
Charles Christopher - Luiz Bonfa
Meditation - Johnny Frigo/Bucky/John Pizzarelli
Pennies From Heaven - Clark Terry
Samba De Orfeo - Luiz Bonfa
The Song Is You - Johnny Frigo/Bucky/John Pizzarelli
Introduction And Left-Right Imaging Test - Listening & Technical Tests
Ledr Test - Listening & Technical Tests
Acoustic Soundstage Test - Listening & Technical Tests
Acoustic Soundstage Test - Polarity Test #1
Acoustic Soundstage Test - Polarity Test #1
Acoustic Soundstage Test - Polarity Test #1
Acoustic Soundstage Test - Polarity Test #2
Acoustic Soundstage Test - Polarity Test #2
Acoustic Soundstage Test - Polarity Test #2
Acoustic Soundstage Test - Polarity Test #2
Acoustic Soundstage Test - David Chesky Band
Multiple-Generation And Low-Level Linearity Test - Announcment
Multiple-Generation And Low-Level Linearity Test - David Chesky Band
Multiple-Generation And Low-Level Linearity Test - Announcment
Multiple-Generation And Low-Level Linearity Test - David Chesky Band
Bonger Tests - Bonger Test
Bonger Tests - Bonger Test
Announcement And Technical Tests - Warning Announcment
Announcement And Technical Tests - Audio Percision
Announcement And Technical Tests - 128x Oversampled A to D
Announcement And Technical Tests - Standard Successive Approximation

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