Tuning in [CD-single] [Import]

1. Tuning In

2. There He Goes

3. Another Muse

4. True Romantic

5. Middle Of The Fire

Editorial Reviews

Product Description
Australian exclusive. This debut EP is a burst of sizzling rock n' pop electro dynamite. Featuring Ex-Mavis's Beki T and Nik G and 3 other 'Bullets' in their arsenal, Beki & the Bullets come across like a three way cage match between Missing Persons, Gwen Stefani & Motley Crue. Roadrunner. 2005.

Tracks:

Praeludium
Aria And Variations
Adagio
Finale
Sonata
Presto
Allamanda
Presto
Sonata
Courente
Double
Adagio
Ciacona
Praeludium
Allamanda
Guigue
Sarabanda
Double
Lamento
Aria
Adagio
Allamanda
Variatio
Sarabanda
Variatio
Sonata
Presto
Guigue
Double I
Double II
Sonata
Courente
Doubles I & II
Finale
Praeludium
Aria
Variatio 1 - 2
Variatio 3 (Adagio)
Variatio 4 - 5

Tracks:

Sonata
Surrexit Christus Hodie
Adagio
Intrada
Aria Tubicinum
Allamanda
Courente
Double
Sonata
Gavotte
Guigue
Sarabanda
Praeludium
Ciacona (Aria)
Guigue
Sonata
Aria
Canzona
Sarabanda & Double
Passagalia

Customer Reviews:

Another World.......2007-03-29

Biber heartily embraced gypsy tavern violin virtuosity long before Dvorak or Brahms. This is magnificent music full of elegant and earthy contrasts. The sonatas that employ unconventional tuning open up new worlds of harmonic splendour, yet the crowning piece, the Passagalia, which does employ conventional tuning but isn't part of the Mystery Sonatas, is thankfully included as the final work of a two disc journey that soars the heights of heaven and plunges the depths of human experience. I have the original release of this music with its sumptuous and informative booklet: booklet or not, these are exceptional performances combined with an exceptional recording.

Yet another forgotten musical genius. Beautiful music.......2007-03-04

Heinrich Ignaz von Biber was a wonderful composer. The so-called "Mystery Sonatas" also known as the "Rosary Sonatas" have an aire of perfection rarely seen in classical baroque music. Biber has been all too conveniently forgotten and I am not sure why. As with Erik Satie (another of my favorite, yet unknown composers) Biber has managed to shrink in to the darkness of history while his legacy of work should be celebrated.
His work is haunting, exhilarating, enriching and somber. His music conveys a sadness and a joy that few musical works are able to convey. Biber's understanding of orchestration, the workings of instruments in compliment of each other, is astonishing to me. He had an ability, a gift, that only God himself could have given him. If you don't believe in God, then just accept that he was a prodigy of the finest degree and his work was sent from a deep place inside that immediately crawls inside of you. I, personally, call it a religious musical experience.
Absolutely stunning music.

A Monument of Early Violin Music.......2006-12-17

This version of Biber's stupendous ROSARY SONATAS (this is the more correct translation of the original German title) is marked first of all by the stunning virtuosity and graceful lyricism of violinist John Holloway. Simply to master the notes of these sonatas is an immense task in itself: playing scordatura is sort of like ventriloquism, since you are miming a certain set of notes while other notes are sounding. To have worked up these difficult pieces into an intensely expressive, dramatic experience, as Holloway has, is breathtaking. Then there is the variety of continuo instruments arrayed for each sonata. In various tracks we hear organ, harp, lute, violone, lirone (a gamba viol sounding to these ears somewhat like a harmonica) and regal (a small, portable organ with a rasping, nasal sound, used to great effect in the "Crowning with Thorns" sonata). Finally, the fact that this recording is priced far lower than any of the other major versions (Goebbel, Manze) makes it doubly attractive. I was disappointed by the scarcity of program notes, understandable given the budget price: we are not informed, for example, of the scordatura tuning of the individual sonatas, and I would have liked a more detailed discussion of the pictorial and symbolic elements used by Biber in the sonatas. However, the notes include a link to Virgin's website promising "a more detailed introduction".

Perhaps it's best not to take in this colossal work all at once. For a sampler, try tracks 14-15 of CD 2 (the "Assumption" sonata) and hear some of the most buoyant, joyous violin playing in existence. You'll be instantly mesmerized.

An Inordinately Beautiful Recording of the Biber Mystery Sonatas.......2006-09-22

Much can be written about the difficulty of this music form the 17th Century by Heinrich Ignaz Franz Biber - and other reviewers here have given superb descriptions of those complexities - but the end result of works such as this is in the response it produces in the listener.

Biber wrote these Mystery Sonatas to represent the three sets of mysteries from the Bible: the Birth, the Crucifixion, and the Resurrection of Christ. The recording is by Tragicomedia with Davitt Moroney and John Holloway in this impeccably performed recording of impossible music: the music is impossibly difficult to play and impossible not to draw and emotional response from the listener. Some may find this version a bit dry sounding, but for this listener that only enhances the other-worldly sense of the music.

The sixteen sonatas are named as follows: Part I: The Annunciation, The Visitation, The Nativity, The Presentation, The Finding in the Temple Part II: The Agony in the Garden, The Scourging of Jesus, The Crowing of Jesus with Thorns, Jesus carries His Cross, The Crucifixion Part III: The Resurrection, The Ascension, The Descent of the Holy Ghost, The Assumption of our Lady, The Crowning of the Blessed Virgin Mary, and Passacaglia. With the simplest combination of instruments Biber was able to elicit the feelings of each of these mysteries.

For those who love Period Music this recording is a complete success and a treasure to own. For those who have yet to step into this ethereal world, this is a very fine beginning. Highly Recommended. Grady Harp, September 06

Hauntingly beautiful Baroque fare.......2004-02-23

I own three versions of Biber's Mystery (Rosary) Sonatas, and a fourth recording (by Manze) of other Biber sonatas along with the famous passacaglia that concludes the set. All of the versions (the other two being by Rheinhard Goebel on Archiv and Suzanne Lautenbacher on VOX) are beautiful, because the music is. Perhaps the passacaglia is the most beautiful 8 to 12 minutes (depending on performer) in the entire musical library. I rate the Holloway version as the best in terms of the passacaglia. The pacing seems perfect (Goebel is fast and almost dancelike, Manze quite slow but with more flare) and is about the same as that of Lautenbacher, the latter being performed on a modern instrument with her usual good taste and limited vibrato. Certainly the Holloway version has the most delicious ending to the passacaglia, when the minor key resolves to a major that brings tears to my eyes every time I hear it. The Goebel and Manze versions both have a decorative flourish on the final note that, while beautiful, detracts in my opinion from the simple beauty of the key resolution. How two reviewers could give this recording only a single star is beyond comprehension! Even if one grants that Moroney is not as "lively" a harpsichordist as the performers on the other versions, my response is, "So what?" Maybe if you're a harspichord fanatic you drop the ranking from five stars to four, but the work is overwhelmingly a violin piece with harpsichord ACCOMPANIMENT. To downgrade the ranking of the entire recording to one star completely ignores the fantastic beauty, technical perfection, and haunting introspection of Holloway's performance on the violin. Besides, it's not as if Moroney actually is "incompetent." The descrition I would use is "tastefully understated, recognizing that this is primarily a violin recording." In contrast to the fun Goebel version and the good but more yeoman (yeoperson?) Lautenbacher version, Mr. Holloway plays with greater sensitivity but still with plenty of guts (not referring to the strings here) when drama or a discordant double-stop are called for. Again, ALL of the versions I've heard are great, and I'm tempted to buy yet another, but I always recommend the Holloway to my friends.

Average customer rating:

The Extraordinary World of Biber
excellent but not my favourite
Austria's contribution to 17th-century violin virtuosity
Academic
Nothing more, nothing less: Just eternal music !!!

Biber: Violin Sonatas

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000665Z8
Release Date: 2002-09-10

Customer Reviews:

The Extraordinary World of Biber.......2006-08-30

The history of violin music did not begin with Corelli in the early 1700's. It began with a group of Italian, German, and Austrian composers in the 17th century who exploited the violin as a virtuosic and polyphonic, rather than simply lyrical, instrument. The last and greatest of these composers was Heinrich Biber. There seems to be a little confusion here about Biber's place in the chronology of music. He was born in 1644 and died in 1704, which makes him more than a generation older than High Baroque composers like Bach, Handel, and Vivaldi. The set of eight sonatas presented on this disc was published in 1681, four years before Bach and Handel were born. Andrew Manze has remarked that it was the 17th-century composers like Biber who made the baroque style what it was. Listeners who are more familiar with late baroque music may at first find Biber's world a wild, unpredictable one. Quasi-improvised rhapsodies, variations over a ground bass, and a seemingly discursive structural plan all make Biber's style seem primitive at first hearing, like a fresco by Giotto viewed after a painting by Raphael. But as one becomes more familiar with the music one comes to appreciate that Biber's world is self-contained and every bit as rich as the late baroque, and that these are fine compositions as well as records of the stupefying virtuosity of the composer/performer who wrote them. I am especially struck by Biber's command of infectious dance rhythms and his gift for florid, elaborate melodic figuration, blossoming outward in intricate spirals.

Each of these eight SONATAE is unique and has a distinctive expressive character. The opening sonata in A major, permeated with the brightness of open strings, sets the tone for the whole recording (particularly the beguiling variations found on track 2). The compact Second Sonata, in D minor, is austere - a striking contrast to the jocular Sonata III in F, full of courtly grace and humor. Sonata IV in D major, the most sonically beautiful of the sonatas, makes use of scordatura to produce brilliant sonorities in chordal passages. The Fifth Sonata in E minor is monochromatic, restless, at times strident. The Sixth Sonata in C minor, perhaps the finest in the set, contains an impressive passacaglia and resorts to scordatura in the last movement. Bright and good-humored moods return with SONATA VII in G major, while the final sonata in A major has the violin creating a fully imitative two-part texture with double stops; one can hardly tell, from listening to it, that this is not a trio sonata. The recording presents four additional pieces: a Passacaglia for lute (arranged from the Violin Sonata VI), SONATA PASTORELLA in A major, SONATA REPRESENTATIVA, which imitates animal sounds, and the oft-recorded Passacaglia in G minor for unaccompanied violin, in which Biber creates a harmonic texture without the aid of basso continuo - just as Bach would do a generation later in his Sonatas and Partitas.

These performances fully deserve the critical accolades they received. Manze is a consummate master of the baroque violin, proving for all time what an expressive, sonorous, supple instrument it is. He executes Biber's virtuosic writing with the gracefulness and agility of a dancer, producing a tone ranging from austere to sweet to wailing. John Toll on organ and harpsichord and Nigel North on theorbo provide a colorful and vital "rhythm section" to Manze's flights of fancy. Now released as 2 CD's for the price of one, this is a baroque recording for the ages.

excellent but not my favourite.......2005-11-20

It's hard to decide what to write here.... This is an awesome recording, especially the Sonata Representativa, but I just don't like it as much as John Holloway's recording. That's the only thing wrong with it, Andrew Manze isn't John Holloway. I guess that isn't very helpful. It must be the organ/harpsichord combo on Holloway's recording that does it for me. The Sonata Representativa on this recording is easily the best I've ever heard though, no doubt about it. Very expressive & exciting. Romanesca is definitely to be commended for 'discovering' Biber; I'm sure much of the interest in Biber these days was initiated by this recording of Romanesca's.

Austria's contribution to 17th-century violin virtuosity.......2005-10-20

Let's first give credit to the Austrian composer, HIF von Biber, for his most skillful, innovative and often-daring compositions here. Along with fellow-Austian Schmelzer's sonatas, these sonatas are musically-intriguing works and a marvelous contribution to the 17th-century virtuoso tradition that migrated north from Italy. Many of the sonatas are in the form of aria and variations. It is music worthy of deep exploration and appreciation. We are thankful for artists like Manze to help bring them to modern light.

Such difficult, fantasy-like compositions are the playground for only the most accomplished violinists such as Andrew Manze, who fully rises to the occasion here. Manze is famous for tackling such quirky and flamboyant 17th-century violin music with a most unique style and precision unlike any other performer. The highly-dramatic and gypsy-spirited fiddling that has made him famous is in full force in these Biber Sonatas - and nowhere more dramatic than in the most unusual "Sonata Representativa." This sonata grouping is as wild and unpredictable as they come and contains one short (1:06) but jaw-dropping virtuoso piece called the "Musketeer's March." Against a marvelously-performed and boldly-percussive continuo, Manze's powerful effects show us why he rules in this kind of music. It is extraordinary to hear - rhthymically-frenzied, fantastic and frenetic. Between the relentless rhythmic drive of North and Toll and Manze's astonishing, 'chromatic' slurrs and soaring riffs, this movement is one rightful reason for the "Manze craze."

The highlight of Mr. Manze's playing here (and in general) is most certainly his technical wizardry - throwing off effortless runs of demisemiquavers with great precision and rhythmic intensity. Less of a highlight for some will be his ability to make the violin sing aria-like melodies when the notes cool off to mere crotchets and semibreves. The tone he exudes is more direct and starker as compared to the "sweet" tone and singing voice that his fellow period-violinists are better known for (Podger, Biondi). Penguin Guide rightly calls his style "authentic period fiddling" and notes it will not be to the taste of everyone. So, it is a really a matter of what sounds good to your ears, and most people seem to like Manze's overall style thoughout the entire program. Some will resonate more with John Holloway, I tend to prefer Goebel's more melodic and silky violin sound on DG for these same works. Regardless of performer and preference, this extraordinary music is more the main point.

Both Penguin and Gramophone Guides gave this CD high marks, including a top 1995 Baroque-Music Award from the latter. Additionally, veteran music-critic David Hurwitz of ClassicsToday gave this recording (and the Rosary Sonata set) a perfect 10/10 for Artistry/Sound Quality. Indeed, the sound quality is fantatic (clear, full, optimally resonant) as is the creative and passionate continuo support of John Toll and Nigel North. Also most recommended is Romanesca's recording of Schmelzer Sontatas for all of the same reasons above. Compositions - 5 stars; Performance - 4 stars; Sound Quality - 5 stars; The ugly and strange cover art of the dead bird - 1 star.

Academic.......2005-10-13

Biber is probably one of the most inventive and lyrically expressive violin composer to have come out of the Early Baroque period and Austria. Austria and Catholicism being synonymous with the Italian Baroque violin tradition of lyricism, Biber's 'Mystery Sonatas' are probably some of the most moving lyrical pieces in the entire Baroque repertoire. The expressive ranges unfortunately remain in the dark in this performance as the piece is performed by Manze who, although a leader in the study of this period, is ironically the least expressive professional violinist for Early Baroque pieces which is ultimately self-defeating.

Manze is at it again as with every piece he performs for the Italian style that has absolutely no passion of any sort. They are lifeless robotic excercises and nothing more! Manze is principally an academic performer instead of a professional one and his performances sound like scale and technique lessons instead of the passionate interpretations they are supposed to be. I can't stand them as it really only appeals to violinists who need to practice the techniques that are painfully overemphasized ad nauseam in recordings such as this one! My case and point, the spotlight reviewer who is a violinist and emphasizes on the clarity of the method as part of his overly positive review of this work as an academic vs. professional performance. This sluggish screeching resulting from his over-methodical applications of technique sounds like a set of nails scratching the chalkboard every time and is ultimately self-defeating because such performances make him sound like nothing more than an amateur and are tedious beyond belief! In terms of professional performance cirlces he is really an amateur for those reasons. Professional performance means just that! Practice of techniques is over! It's time to put those techniques to use in bringing out the music's intended purpose as opposed to the means of getting there. With classical music especially, the purpose of techniques is for the listener to hear the fruition of the technique and not the technique itself so as to not be distracted in reaching the desired end of musical and spiritual ecstasy. Manze instead performs the technique as the end in itself which was certainly not Biber's original intent in composing this work. Instead of spiritual ecstacy, Manze leads the listener to primarily analyze the technique like a musical academic panel evaluating technique! OK! Great! You get an A for technique and an F in lyrical expression which averages to an overall mediocre performance! This difference with real professional performance in this style is horribly and consistantly obvious even to the untrained ear with each and every one of Manze's performances. Compare Manze/Romanesca for this piece with Goebels/Musica Antiqua Koln. Manze's deficiencies are shamefully exposed in properly performing Italian/Catholic tradition Early Baroque pieces in comparison to Goebel's application of method as, although both he and Goebels use traditional intruments and techniques, Goebels' fluid and emotive interpretation leaves Manze sounding as if he's stuck in the mud of his own confused renditions. Another better example of this in terms of Early Baroque Italian performers is Manze and McGegan performing Uccellini. Just as with Goebels for Biber, Nicholas McGegan's traditional performance on the Baroque violin is warm, fluid, vibrant, and full of life whereas Manze's performance is as fossilized as the one here. With Manze it's no longer a Baroque interpretation but a prehistoric one instead! With performances for Pandolfi there isn't yet really any choice except Manze but, to listeners who care about their ears, I tell you avoid Manze like the plague whenever possible. He knows great techniques but simply doesn't know how to properly apply them for public performance. In short, he simply stinks as a public performer and, despite all his technical knowledge, he is ironically one of the worst solo violinists you can get for virtually anything you might want to buy!

I wouldn't really waste my money on this very average performance. I have great respect for Manze as an innovative musicologist exploring these obscure Baroque works and the difficult techniques they demand but he is simply pathetic as a performer and that's the simple truth! He focuses so much on techniques that he limits his ability to express the very lyricism they are intended to evoke in the first place. This is actually as good as I've heard Manze/Romanesca perform and really the only one I've heard where I didn't want to return the CD because of Manze's limitations which I discussed. Again, unless you're a violinist looking for good technique emphasis, shun Manze like the plague unless there's absolutely no other choice for an alternative performance such as Goebels, or Biondi, or really any professional Early Baroque violinist! He's simply not a professional musician and instead an overly technical academic who gets more thrills from techniques than the music's ultimate purpose which is passion. It sure sounds like it and it's very painful to hear him trust me unless you like chalkboards being scratched! Get Goebels and Musika Antiqua Koln's as they are professionals who far surpass Manze in actually performing instead of just practicing at your expense. Their interpretations are really the only ones to bother getting for Biber or Early German Baroque. They also do many High Baroque works to perfection such as with their great performance of Teleman's Water Music.

Nothing more, nothing less: Just eternal music !!!.......2005-08-23

If you like listening to Vivaldi or baroque music in general, please free to discover the truly beautiful works of Biber.

Listen and enjoy on of the best pieces of classical music ever..

Les Voix Humaines: Abel, Bach, Marais, Sainte-Colombe

Average customer rating:

Jordi Savall is God
Viola da Gamba at its best
The true "human voice" of the baroque

Les Voix Humaines: Abel, Bach, Marais, Sainte-Colombe

Manufacturer: Alia Vox
ProductGroup: Music
Binding: Audio CD

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Amazon.com essential recording

The sound of the cello is often compared to the human voice but, as Jordi Savall proves on the riveting Les Voix Humaines, perhaps that analogy is better suited for another instrument, the viola da gamba. Switching between two viols (one dating from 1550, the other 1697), Savall makes solo Baroque works by Bach, Marin Marais, and Sainte-Colombe literally sing. As the gambist-conductor explains in the liner notes, a debate hit the music world in the 17th century that pitted melodic playing versus harmony. Though no conclusions were agreed upon, it's fascinating to hear the diverse styles--Italian versus French, melodic versus harmonic, etc.--that Savall presents us. His playing is soulful and thoughtful, never rushed, and the recorded sound intimate and precise. One of Savall's best discs (no small feat!) and a must-have for early-music lovers. --Jason Verlinde

Customer Reviews:

Jordi Savall is God.......2005-03-17

It's been said before, but it deserves to be said again.

Viola da Gamba at its best.......2003-04-14

Jordi Savall is a player of rare sensitivity and virtuosity. This CD of solo works for the viola da gamba is an encylopedia of gamba styles and a treasure chest of baroque compositions. From start to finish this CD is riveting, the beauty of his playing and the compositions is awe inspiring. The recording is excellent and the liner notes are informative. Savall's playing of Maris is heartrending, and his interpretation of movements from the Bach cello suites is revelatory. This CD is a great introduction to the viola da gamba as well as a treasure trove for any gamba fan.

The true "human voice" of the baroque.......2000-10-19

As always in J.Savall, the reconstruction of the baroque sounds & spirit is perfect. This time the music really succeds in filling the XXI century listener with the tortured spirit of the XVI century. A last recomendation, it is a record to be listened to in the dark.

Average customer rating:

The best Cuban music album I've ever heard!

Villa Medici-Nada Per La Music
Paolo Beschi , Johann Sebastian Bach , Alan Bern , Heinrich Ignaz Franz von Biber , Johannes Brahms , Uri Caine , Maurice Horsthuis , Jules Massenet , Domenico Scarlatti , Franz Schubert , Robert Schumann , Christopher Simpson , La Gaia Scienza , Luca Pianca , Uri Caine , Marco Bianchi , and Marianne Ronez
Manufacturer: Winter & Winter
ProductGroup: Music
Binding: Audio CD

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ASIN: B000059T8D
Release Date: 2001-08-21

Customer Reviews:

The best Cuban music album I've ever heard!.......2001-07-10

Each song is a favorite of my collection! This album is simply great! This is the very album you can hear in every kind of mood; when you are in sorrow, it will comfort you; when you are gloomy, it will cheer you up. Simply the best!

Average customer rating:

This's one of the finest offerings I've heard this Winter!!!
Vittorio Ghielmi and Luca Pianca - Bagpipes from hell

Bagpipes from Hell

Manufacturer: Winter & Winter
ProductGroup: Music
Binding: Audio CD

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ASIN: B00003J6I0
Release Date: 2000-02-15

Tracks:

The Brown Haired Maiden
L'Arabesque
La Reveuse
La Couperin
Bagpipes
Praeludium Et Fuga, E flat
Prld
Ground Divisions
La Paraza
Rondeau
Le Carillon De Passy
La Girouette
Lancashire Pipes
Twenty Ways Upon The Bells
Praeludium Et Fant, c
Vielle
La Du Vaucel

Amazon.com

For starters, there are no bagpipes on this weird and wonderful mix of 17th- and 18th-century music arranged for lute, ceterone, viola da gamba, and lyra viol. But the playing by Vittorio Ghielmi and Luca Pianca (founder of the Giardino Armonico ensemble) on Bagpipes from Hell will have you fooled that something wheezy is at work here. It's an odd mix of dances, including jigs, and folk-inspired numbers ("Brown Haired Maiden," anyone?) that somehow blends the droning elements of bagpipes and hurdy-gurdy with the intricate delicacy of baroque composition. Works by Marin Marais, Christopher Simpson, Antoine Forqueray, and anonymous composers are included, and the playing throughout is intense and exquisitely recorded. Unfortunately, the slim liner notes on the gorgeous Winter & Winter disc don't help to explain why this assortment of music works (and the scary Hieronymous Bosch painting does little more than intimidate), but it's still easy to love. Whether traditional (Simpson's "Ground Divisions") or interpreted (the anonymous 17th-century tune "Bagpipes," where metal strings are used), this is beautiful, seldom-heard music--a little darker than that on most baroque discs, but just as delightful. --Jason Verlinde

Customer Reviews:

This's one of the finest offerings I've heard this Winter!!!.......2005-03-07

You can laugh about the title. The musicianship is a work of art. Not real bagpipes, either, eh? You've just been charmed. The viols and lute add character to this recording. I just count my lucky stars I was a trust fund baby... 'cause you know this music was created for royalty.

Vittorio Ghielmi and Luca Pianca - Bagpipes from hell.......2000-11-25

El repertorio de este disco está compuesto por obras del barroco francés e inglés (además de un par de solos para laúd de S. L. Weiss), interpretadas con viola da gamba y lyra-viol (viola con cuerdas al aire adicionales) por Vittorio Ghielmi, y laúd y ceterone (cittern, instrumento de cuerdas metálicas) por Luca Pianca. La parte francesa está representada por autores como Sainte-Colombe, Marais y Forqueray, y son principalmente movimientos con carácter de danza, probablemente extraídos de distintas sonatas. Están interpretados con mucho gusto, delicadeza y conocimiento de la ornamentación y fraseo. El contrapunto lo ofrecen las obras de autores ingleses (Simpson, Robinson y anónimos), con obras danzables, de carácter más rústico, y con piezas del género de las "divisions", esto es, consistentes en diversas variaciones sobre un mismo bajo. El carácter popular de estas obras está muy bien conseguido en la interpretación, puesto que los músicos ocupan una gama completamente distinta de sonidos para abordarlas, con rasgueos en las cuerdas pulsadas, y con un ataque muy rasposo y duro en la viola, que además consigue imitar con pedales a una gaita. Además, las "divisions" están muy bien abordadas, pues perfilan con distintos matices cada una de las variaciones. En definitiva, éste es un disco que abre bastante los ojos (y los oídos) para quienes esperan de la música barroca algo pulcro, bondadoso e inofensivo, pues son capaces de mostrar, con mucho ánimo y sensibilidad, la distinta gama de afectos posibles de conseguir.

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Chamber

Manufacturer: Pitch
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AA4KXI
Release Date: 2005-08-30

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Better for small kids
CD won't play in player (CD-R?)
KING OF THE JUNGLE!! The BEST KID'S SONG EVER!
SUPER! Kids LOVE it!
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Rock The Word! From the Creators of Scripture Rock
Scripture Rock
Worship Jamz
Worship Rock 1 CD (Rare)
Worship Jamz 2

ASIN: B000067G1N
Release Date: 2002-05-06

Album Description

More cutting-edge worshipful fun like Worship Rock 1, but geared for 2-10 year olds.

Irresistable songs in a variety of fun rock styles for all ages, played with passion by real, world-famous live band members from D.C. Talk, Stephen Curtis Chapman, & Michael W. Smith. Disc 1 has more sophisticated songs which appeal to all ages, including kids and teens. Vol.2 is for pre-teens.

Customer Reviews:

Better for small kids.......2006-08-06

I ordered this CD and also Worchip Jamz 2 for my kids, but this CD would be much more appropriate for preschool age kids than older (my youngest is 11.)
It's wonderful music for the younger set! Very inspired.

CD won't play in player (CD-R?).......2004-04-07

This CD and another by the same artist will not play in my CD player which doesn't read CD-R's. When I play it in a boom box it will work. The songs just don't appeal to my children or our youth group. The song lyrics are well written but the tunes themselves are not catchy to the kids. They seem to like Colin Buchannan's Aussie Praise collection much better. Amazon doesn't sell it but cbd.com does. Great Effort though by this couple.

KING OF THE JUNGLE!! The BEST KID'S SONG EVER!.......2002-10-28

All the songs on this CD are creative and wonderful.
The BEST one is KING OF THE JUNGLE!!
It can't be beat. If you don't have it, get it.

SUPER! Kids LOVE it!.......2002-07-25

This is my favorite record for very young kids who want to bounce around innocently while singing about God. It's very colorful and creative.

Great for Worship!!.......2002-05-22

What a great album for getting in an upbeat worship frame of mind. I have used the whole Worship Rock series with the young kids and youth at my church and they love them all! I highly recomend all of the Worship Rock collection.

Average customer rating:

What I and my family think of these 20 songs
What a great worship album!
It's one of the few albums my whole family enjoys

Worship Rock 1 CD (Rare)

Manufacturer: Nilsson Media Mission
ProductGroup: Music
Binding: Audio CD

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Worship Rock 2 for Kids (Rare)
Rock The Word! From the Creators of Scripture Rock
Worship Jamz
Hip Hop Hymns
Worship Jamz 2

ASIN: B000067G1O
Release Date: 2002-05-06

Album Description

A brand new cutting-edge worship CD for teens and kids. Like Scripture Rock. Irresistable songs in a variety of fun rock styles for all ages, played with passion by real, world-famous live band members from D.C. Talk, Stephen Curtis Chapman, & Michael W. Smith. Disc 1 has more sophisticated songs which appeal to all ages, including kids and teens. Vol.2 is for pre-teens.

Customer Reviews:

What I and my family think of these 20 songs.......2002-08-18

Humbling - AWESOME- The best song ever!
I Won't Deny Him - very moving story about African martyr
I Dont Belong Here - Rock-n-Roll! - reminds of "We will rock you"
We Go Boldly - nice worship song based on great bible verse
The Journey - Graduation-type "Friends" song. nice.
Joy To The World - fun
Fire Of Unity - very meaningful, Lean On Me vibe for all ages
With All My Heart - sweet simple chorus
Crown Him - like the Funky Michael W Smith version
Holy Holy Holy - lots of fun! Hip Hop
Yeah Yeah (I Love You Lord) - This is a blast to sing
I Need You Now - very touching
Hey God, Let's Talk - nice
Hand In Hand - great anthem- was the theme song to our convention
Standing On the Promises - makes this old hymn fun
Bonus Tracks:
Colors - fun, sounds almost like a 60's tune
He Walked Alone - deep
Who Am I - nce, kind of adult
Happy - fun

What a great worship album!.......2002-07-25

My whole family loves the mix of fun rock styles. The kids especially.

It's one of the few albums my whole family enjoys.......2002-06-22

Worship Rock #1 has so many great songs- 18 or 19 I think. It's like two CD's worth. It's very fun to play in the car because the kids love the songs, but they're not just for kids. It has a down-to-earth feel that makes Worship seem just like a normal part of our lives, not all churchy with wierd words, because our family just isn't into that. I highly recommend it.

Average customer rating:

Across the centuries and media

Biber: The Rosary Sonatas

Manufacturer: Avie
ProductGroup: Music
Binding: Audio CD

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Biber: The Rosary Sonatas

ASIN: B0001W2ZV4
Release Date: 2004-07-20

Customer Reviews:

Across the centuries and media.......2005-05-02

This is a production that incorporates audio techniques that span the centuries and combines muisic, the spoken word, literature and visual art. The result is a bit unusual, but mostly effective.

Before each sonata is performed, a reading from a Rosary Psalter from the late Middle Ages is given by British actor Timothy West. He gives an imposing reading, sounding as if he were acting in a Shakespeare drama. You may enjoy this or be put off by it, depending on your tastes and mood. Frankly, the readings didn't interest me. But it's a small matter to program out the readings on your CD player if you want to.

The readings do serve a useful purpose, though. The Psalter description of each Mystery, along with the poetic meditation it provides, gives us great insight into the programmatic depiction contained in Biber's corresponding sonata. Other things help, too. James Clements' liner notes description of the musical technique Biber used to portray each Mystery is very useful. In fact, without those verbal and literary descriptions, I would never have guessed what Biber was trying to portray. On their own, the sonatas just sound like nondescript pieces of absolute music. Lastly, the engraving illustrations included in the original music manuscript are shown on the album's cover. At least I assume these are the original illustrations. The liner notes don't specifically say so. These illustrations are an additional aid for us to appreciate and understand the music.

Biber wrote these sonatas in a style with much gusto and frequently called for great virtuosity. Fortunately, Beznosiuk is up to the task. His performance of the Guardian Angel passacaglia really shines. His talent handles the music well, but in the effort to execute this tricky music, he ends up giving the music a modern feel instead of the needed Baroque feel. Biber calls for a different violin tuning with each sonata, which keeps things interesting. The instruments used by all the musicians are either period instruments or modern reproductions of period instruments. Yet, all the instruments sound modern! Maybe it's just my own perception.

One odd thing about the recording is the acoustics involved. It was recorded in St. Andrew's Church, Toddington, Gloucestershire. Apparently it's an old church. The reverb during the reading is almost distractingly strong. It's a very different story with the instruments, though. Here, in the same church, I hear no reverb or any sense of acoustical space. It may as well have been done in a modern recording studio. The continuo instruments come through clearly and prominently. Certainly not the Baroque sound we're used to. They intrude a bit on the solo violin's aural space. Some bad mixing on the engineers' part.

This production certainly stands apart among recordings of the Biber sonatas. The techniques involved may or may not appeal to you. Overall, I think it's an adventurous, change-of-pace rendition. All things considered, I would recommend it to you.

Average customer rating:

Amazing CD at a bargain price !
a virtuoso pianist & composer

Introducing Easley Blackwood

Manufacturer: Cedille
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004YLF3
Release Date: 2000-09-19

Album Description

The program includes movements from Blackwood's Clarinet Sonata, Op. 31; Twelve Microtonal Etudes; and String Quartet No. 3; movements from Ives' "Concord" Sonata and Elliott Carter's Cello Sonata; and solo piano works by Blackwood, Nielsen, and Casella.

NEW - Special Budget-priced "Cedille Artist" Compilations The four titles in the series showcase the label's most prolific recording artists (Dmitry Paperno, Easley Blackwood, David Schrader, and Patrice Michaels). If you haven't heard these outstanding artists yet, the new, budget-priced Cedille Artist series makes for an easy introduction to these acclaimed, Chicago-based musicians. These generous compilations - all over 70 minutes long - come with many complete works, not just short excerpts. Each is programmed to demonstrate the musician's full range of artistry over a wide variety of music styles.

Customer Reviews:

Amazing CD at a bargain price !.......2003-08-13

Masterful performances and wonderful recordings. There is an abundance of magic on this disc: Artistry , dedication and musical integrity can be felt throughout but in a warm embracing way . You get hit with lots and lots of notes in rapid succession but they are fluid and lyrical and create an impression that remains long after the last note has faded.
Varied and consistently excellent is how I would describe this offering. Very highly recommended. *****

a virtuoso pianist & composer.......2002-02-11

This is a sampling of Easley Blackwood's artistry as pianist and composer. His skill as pianist is remarkable, and he interprets the music of 4 other composers on this disc, as well as 6 of his own compositions. Tracks 4-6, Carl Nielsen's "Three Pieces, Op. 59", out of his "Radical Piano" CD, is great, and in Blackwood's hands sparkles...and the most "modern" selection on this disc, the Moderato from Elliot Carter's "Sonata for Cello and Piano", with Barbara Haffner on cello is another favorite.

His own compositions are wonderful and varied. I especially like the lovely "Seven Bagatelles". Mr. Blackwood is Professor Emeritus at the University of Chicago, and he has taught there since '58...he's also one of the founding members of the fabulous Chicago Pro Musica, a group that has done so much for new American classical music.
I first heard Blackwood in his stunning performance of Leonard Bernstein's "Prelude, Fugue and Riffs", on the CD titled "Ebony Concerto" featuring fellow Pro Musica founding member (and extraordinary clarinet virtuoso) John Bruce Yeh, and he's been delighting me with his music ever since.

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