Splinters [CD-single] [Import]

Product Description
Double A-side single release, their second lifted from the 2000 album 'Secret South'. Tracks, 'Splinters', 'Nobody 'Cept You' (Dylan cover) & two non-LP tracks, 'American Wheeze' (Live) & 'De-Railed'. Slimline jewel case. 2001 release.

Splinters,16 Horsepower,Glitterhouse Records,5"CD Singles,Rock

Average customer rating: Goodall's Siegfried "Do you know what Wotan wills?" Slow and steady wins the race Absolutely better than you think, the best of Goodal's Ring! Better than you might think....

Siegfried (Goodall Ring Cycle/Chandos Opera in English) English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Opera & Vocal | Box Sets | Stores | Music Similar Items: The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Rhinegold Wagner: The Valkyrie Wagner: Siegfried Wagner: Die Walküre ASIN: B000056KNC Release Date: 2001-02-27

Tracks:

1. Act I.: Prld - Barry Tuckwell
2. Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
3. Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
4. Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
5. Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
6. Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
7. Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
8. Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
9. Act I., Scene 1: He Storms Away! - Gregory Dempsey
10. Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
11. Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
12. Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
13. Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

Tracks:

1. Act I., Scene 3: Accursed Light! - Gregory Dempsey
2. Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
3. Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
4. Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
5. Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
6. Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
7. Act II.: Prld - Barry Tuckwell
8. Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
9. Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
10. Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
11. Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
12. Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
13. Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
14. Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

Tracks:

1. Act II., Scene 2: Could I But Know - Alberto Remedios
2. Act II., Scene 2: See My Mother - Alberto Remedios
3. Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
4. Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
5. Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
6. Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
7. Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
8. Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
9. Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
10. Act III.: Prld - Barry Tuckwell
11. Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
12. Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
13. Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
14. Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

Tracks:

1. Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
2. Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
3. Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
4. Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
5. Act III., Scene 3: Here in The Sunlight - Alberto Remedios
6. Act III., Scene 3: Come, My Sword! - Alberto Remedios
7. Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
8. Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
9. Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
10. Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

Customer Reviews:

Goodall's Siegfried.......2007-06-22

This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

"Do you know what Wotan wills?".......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Karl Bohm: Wagner: Der Ring des Nibelungen

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

Goodall: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

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

Slow and steady wins the race.......2007-02-07

Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

Better than you might think...........2002-03-17

I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.

Average customer rating:

Splinters 16 Horsepower Manufacturer: Glitterhouse Records ProductGroup: Music Binding: Audio CD General | Rock | Styles | Music Rockabilly | Oldies & Retro | Rock | Styles | Music Similar Items: Sackcloth 'n' Ashes Folklore 16 Horsepower Live Olden ASIN: B00005AC03 Release Date: 2001-05-21

Tracks:

1. Splinters
2. Nobody Cept You
3. American Wheeze (Live Version)
4. De-Failed (Previously Unreleased)

Album Description

Double A-side single release, their second lifted from the 2000 album 'Secret South'. Tracks, 'Splinters', 'Nobody 'Cept You' (Dylan cover) & two non-LP tracks, 'American Wheeze' (Live) & 'De-Railed'. Slimline jewel case. 2001 release.

Average customer rating:

Works of György Kurtág Manufacturer: Hungaroton ProductGroup: Music Binding: Audio CD General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Similar Items: Musik Fur Streichinstrumente György Kurtág: Signs, Games and Messages Kafka-Fragmente Op. 24 Hommage à R. Sch. Kurtag: Gruppen, Grabsteinfur Fur Stephan, Stelle, Claudio Abbado [Import] ASIN: B000009INW Release Date: 1994-04-18

Average customer rating:

The Watchmaker Splinters Manufacturer: Woodson Lateral Records ProductGroup: Music Binding: Audio CD ASIN: B000OH35RE

Product Description

Winding Up Click and Crown Upholstery Stepped Back The Keyless Works Carwarsh Eszence Padded Past Rumspringa Intermission Rasterized Nervous Tic Second Hand New Movements Telescoping Winding Down

Average customer rating:

Ildikó Vékony: Splinters Manufacturer: Budapest Music Center ProductGroup: Music Binding: Audio CD General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Imports | Stores | Music ASIN: B00005V42X Release Date: 2005-06-14

Average customer rating: "Starry eye, you who I met in the long distant past." Powerful velvet (!)

Songs Of Brahms, Sibelius And Stenhammar Manufacturer: Bmg Int'l ProductGroup: Music Binding: Audio CD All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Stenhammar | Stenhammar, Wilhelm | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Hagegård, Håkan | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Classical | Imports | Stores | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music ASIN: B000003FV6 Release Date: 1997-11-11

Tracks:

1. Funf Lieder, Op.105: Like Melodies it Moves
2. Funf Lieder, Op.105: Ever Lighter Grows my Slumber
3. Funf Lieder, Op.105: Lament
4. Funf Lieder, Op.105: In The Churchyard
5. Funf Lieder, Op.105: Betrayal
6. The Dream, Op.13 No.5
7. Until the Evening, Op.17 No.6
8. Splinters on the Water, Op.17 No.7
9. Black Roses, Op.36 No.1
10. Rushes, Whisper! Op.36 No.4
11. Diamond on the March Snow, Op.36 No.6
12. The First Kiss, Op.37 No.1
13. Was it a Dream? Op.37 No.4
14. Prince Aladdin of the Lamp, Op.26 No.10
15. Adagio, Op.20 No.5
16. Starry Eye, Op.20 No.1
17. Florez och Blanzeflor, Op.3
18. Four Serious Songs, Op.121: Prediger Salomo, Cap.3; For it Goes with Men as with Beasts
19. Four Serious Songs, Op.121: Prediger Salomo, Cap.3; So I Returned, & Considered All
20. Four Serious Songs, Op.121: Jesus Sirach, Cap.41; O Death, How Bitter Thou art
21. Four Serious Songs, Op.121: S. Pauli and die Corinther I, Cap.13; Though I Speak with the Tongues...

Amazon.com

Hagegard's sampler is a model of how a recital disc can be programmed. With expert collaboration from Warren Jones, the Swedish baritone serves up a smorgasbord of song with Brahms at both ends of the table and a tasty selection of Sibelius and Stenhammar settings in the center. The central work here is the Four Serious Songs, Op. 121, those remarkably poignant meditations on Old and New Testament verses that Brahms finished May 7, 1896, the last birthday of his life, and with which he effectively said farewell to the world. They are sung to glorious effect by Hagegard, who probes their gentle emotion with a master's touch and conveys the characteristically ambivalent mix of pain, resignation, and wintry radiance at their core. Swedish is a beautiful language, especially when its sounds are entrusted to the Swedes; both Stenhammar and Sibelius knew it as their mother tongue, and were able to fashion songs of remarkable beauty and expressiveness on its poetry. In the vignettes presented here, Hagegard, with his sure grasp of imagery and characterization, proves an impressive interpreter. Especially noteworthy is his treatment of the lengthy ballad "Florez och Blanzeflor," with which the 20-year-old, self-taught Stenhammar proved what a master he was. The recording, made at the HageGarden Music Center (a haven for artists in Brunskog, Sweden founded by Hagegard in 1992), is appealingly lifelike in its presence and dynamic range. --Ted Libbey

Customer Reviews:

"Starry eye, you who I met in the long distant past.".......2003-03-12

This disc brings back some lesser-known works by Brahms and Sibelius and a few by the neglected Swedish composer, Wilhelm Stenhammar (1871-1927). The piano passages are harmonically rich and really capture the agony and radiance of the age (the late 1880s and '90s -- the last years of Brahms' life and the years that marked the beginning of Sibelius and Stenhammar's careers). The texts (in Swedish and German) were chosen more for their ability to be set to music than for literary merit, but a lot of lines catch the feel of the music, like the one from Sibelius' song "Hvar är drömmen?": "Where is the dream? Alas, swamped by my longing!"

The disc is monotonous in spots and would have been better with a few duets or solo piano pieces in between. But a few songs really stand out, like Brahms' poignant "Immer leiser wird mein Schlummer" (My sleep becomes ever lighter), "Klage" (Lament), and his "Four Serious Songs" (written in 1896, the year before his death, to commemorate his friends who were dying off). The two "ballad songs" by Stenhammar are overworked, but his shorter songs "Adagio" and "Starry Eye" are smooth and enjoyable. Often Stenhammar's music comes across as shallow the first time you listen to it, but somehow it has the strange power of drawing you back to it as though you had heard it before (cf. the lines of "Starry Eye" -- 'Starry eye, you who I met in the long distant past'). This stuff is early Stenhammar, before he started to get interested in the bracing, Nordic themes of Nielsen's and Sibelius' music, but you can definitely hear some progression toward his later compositions.

The performance by Håkan Hagegård and Warren Jones is excellent, and aside from a few less interesting songs, this is a great disc. 4 stars.

Powerful velvet (!).......2000-06-25

This is Håkan Hagegård in his prime - as a lieder-singer. No baritone in the world today can combine pure velvety softness, with such enormous power as Hagegård can. Add to this his understanding of the music - here it is perfect, every emotion brought forth. Even if you've never heard the songs before, you will probably feel that 'this is it' directly when you hear it.

Hagegård sounds very familiar with all these three composers, maybe most notably the nordic ones. I myself (being swedish) consider this recording the finest ever made of these lovely Stenhammar and Sibelius songs - Hagegård perfectly catches the special nordic emotionality. The last Brahms are also extremely good. This is baritone-singing at it's very finest.

There really isn't anything bad at all with this recording - it's pure listening-pleasure! It's a must if you're a fan of baritone-singing.

Average customer rating:

Splinters Raoul Graf Manufacturer: Metro ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music ASIN: B00004NK5K Release Date: 1999-10-18

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1. Norton Street
2. Country Girl
3. Californian Switch
4. River
5. Postcards From Melbourne
6. Pretty Horses
7. Fly North
8. Birthday Invitation
9. Hair Of The Dog
10. Answer Song
11. Everything I've Got

Album Details

This is the Debut Solo Album, an Intimate, Yet Punchy Collection of Songs, Produced and Co-written with Ed Kuepper. A Rock Album with a Dash of Blues and Country and a Little Dark Humor featuring Graf's Voice and Kuepper's Guitar.

Average customer rating:

Splinters EP Sneakster Manufacturer: Bella Union ProductGroup: Music Binding: Audio CD General | Dance & DJ | Styles | Music General | Jazz | Styles | Music General | Indie & Lo-Fi | Alternative Rock | Styles | Music Ambient Pop | Indie & Lo-Fi | Alternative Rock | Styles | Music ASIN: B00008G4EV Release Date: 1999-12-07

Tracks:

1. Splinters
2. (Fragment)
3. (Broken)
4. Twisted

Average customer rating:

Cold November Manufacturer: Shannon Saunders & The Splinters ProductGroup: Music Binding: Audio CD General | Country | Styles | Music General | Bluegrass | Country | Styles | Music ASIN: B000CAA5U8 Release Date: 2003-09-30

Average customer rating:

Spirits & Splinters The Jacobson Organ Manufacturer: the Jacobson Organ ProductGroup: Music Binding: Audio CD Pop Rock | Pop | Styles | Music ASIN: B000CAKPEY Release Date: 2005-09-06

Tracks:

1. Memory
2. She Changed
3. Orange C
4. Slip
5. Sugar
6. Addy Caught a Picture
7. Give It
8. Cricket
9. Way It Was
10. Shelter
11. Deceit
12. If You Make It
13. Up on the Line
14. Alejandra's Red Jawbreaker
15. Lazyfloat
16. Whiskey Head

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