Vent [Explicit Lyrics]

About the Artist
Sally Anthony is proof that dreams can become reality. This talented performer, entrepreneur, pioneer and role model continually demonstrates that there are no limits to what one can achieve. With a new album set to launch this summer, Anthony is also the owner of her own record label Gracie Productions, owner a new American Basketball Association (ABA) franchise in Nashville, TN, and founder of Pearlgirlent.Thus far, 2004 has proven to be an exceptional year for Anthony. She recorded her upcoming album VENT, an edgier rock album that she co-wrote and co-produced, which will be released on her record label Gracie Productions in July. At the beginning of the year, she purchased the Nashville ABA franchise that begins their first season in November. Anthony, who has long been an outspoken pioneer, and role model, when it comes to opportunities for women in sports, entertainment and business recently made history by naming Ashley McElhiney the first female coach of a men’s professional basketball franchise. In addition, the team is currently being filmed and will be featured in an upcoming documentary that will track the trials and tribulations of the team throughout their first year. In May she launched Pearlgirlent.com, a website that supports female artists by giving them a forum to share their music and gain support from other talented women. Anthony writes a weekly column for the website.

Success is not something new for Anthony who in 2003 released her independent CD Come Clean on Gracie Productions, which sold over 30,000 copies (according to Soundscan). The self-penned track, "My Life" played on over 50 Top 40 stations nationwide. "My Life" reached #27 on the New Music Weekly Top 40, placing Anthony, the only independent artist on the chart, ahead of acts like Jennifer Lopez, The Counting Crows, Kid Rock and Stacie Orrico. While her career has taken her in many directions, "Come Clean" highlights Sally Anthony’s rediscovered passion and drive and as a woman best described by her own lyrics; "I can be nice and know what I want at the same time".

Anthony’s break came when, realizing the power of the Internet, she launched her own site on which to date her songs have been downloaded over 150,000 times. In the spring of 2001, her song "Nameless In-Between" became an underground hit and received airplay on over 100 radio stations nationwide.

Her growing fan base led Clear Channel Entertainment to book Anthony on an extensive summer tour, opening on the Levi’s First Stage Christina Aguilera, Barenaked Ladies, Oasis, Tom Petty and The Black Crowes. The emotional veracity of her live show turned heads and moved merchandise, selling the 2nd highest CD total (averaging over 75 CD’s per show) of any artist or band to tour on the Levi’s First Stage during the summer of 2001. The summer of 2002 Jim Beam selected Anthony as 1 of 10 Emerging Artists in Music nationally. She was awarded a grant to support her efforts and in recognition of her outstanding achievements as an independent artist. By taking on new challenges and striving to reach her countless goals, Sally Anthony has become a powerful voice and role model for many women while continuing to garner the attention and respect of the ever-fickle music industry by proving that she has both the talent and determination to make it in this business. Sally Anthony continues to achieve her success the old fashion way - she earns it.

Product Description
Singer-songwriter Sally Anthony releases her new album VENT on August 31 on Gracie Productions. VENT, an edgy rock album, is the follow-up to her successful 2003 release Come Clean, which sold over 30,000 copies. Anthony co-produced the album with producer/writer Jason Bowen. Anthony is not only a talented writer and performer but also an entrepreneur, pioneer and role model whose passionate goal is placing women in the forefront of athletics, music, politics, entertainment and life in general. VENT is an album about being the underdog, self-exploration and trusting your inner voice, topics that Anthony identifies with. Every song is written or co-written by Anthony. The first single is the title track "Vent" about letting frustrations out and breaking free from barriers that often inhibit us. "I want to break down walls for women," states Anthony. "I want to write and produce music that isn't necessarily about love and broken hearts. I'm trying to put out an album that lights a fire under aprons and tutus." In addition to using her music as a voice for women's issues, Anthony's entrepreneurial undertakings continue to bring her closer to her goals. She is the owner of her own record label Gracie Productions, owner a new American Basketball Association (ABA) franchise in Nashville, TN, and founder of Pearlgirlent.com, a website devoted to the support and exposure of female artists. Earlier this year, Anthony purchased the Nashville ABA franchise, The Nashville Rhythm that begins their first season in November and made history by naming Ashley McElhiney the first female coach of a men's professional basketball franchise.

Tracks:

Prelude to the Afternoon of a Faun
Preludes, Book One: The Girl with the Flaxen Hair
Two Nocturnes: Fetes
Preludes, Book One: The Sunken Cathedral
Suite Bergamasque: Claire de lune
Children's Corner Suite: Golliwogg's Cake-Walk
Reverie
Iberia: Le Matin D'un Jour De Fete
Deux Arabesques: Arabesque No. 1: Andante Con Motto
Martyrdom Of Saint Sebastian: Prelude To The Council Of The False gods
String Quartet In G Minor, Op. 10: Scherzo. Assex Vif Et Bien Rythme
La Mer: I. De L'aube A Midi Sur La Mer
La Mer: II. Jeux De Vagues
La Mer: III. Dialogue Du Vent Et De La Mer

Customer Reviews:

Probably the best compilation of a single composer's works. Ever!.......2007-05-06

Claude Debussy is perhaps the most understated composer in the history of man. His ability to compose both on the piano and for orchestra is unmatched, in my humble opinion. The fact that Debussy was able to also arrange many contemporary and previous composers' works just adds to his resume. He had a gift, pure and simple.

Although this album doesn't (well, honestly it couldn't) contain all of Debussy's catalog, it does certainly contain some of his best work. There is actually only one track on this CD that I don't care for; that would be Golligwogg's Cake-Walk; it is just a bit annoying to me.

Beyond my dislike for that one track, the entire CD is a beautifully aranged, beautifully played, well recorded compilation with good sound mixing and it is a respectful tribute to a truly great composer.

"Claire de Lune" (Moonlighting) is perhaps one of the most gorgeous pieces of music ever composed; this is the orchestrated version, which I prefer, but the piano version is nice. "Arabesque No. 1" is superb. "Fetes" is both haunting and airy. "Reverie" is the best piano piece I have ever heard. "The Girl with the Flaxen Hair" is also a wonderful piano piece. "The Sunken Cathedral" is dark and mysterious, a true wonder.

The rest of the album is fantastic. Listed above are just my personal favorites from the disc. I listen to this CD at least once a week, but often more. It is perfect for relaxation, for listening while reading, or for my personal favorite use, to block out noise while I am writing.

I would recommend this to any classical lover.

If you have not heard Debussy's music, you must get this CD; it will have you ordering more of his compositions almost immediately.

The man was a genius.

I would also add that if you enjoy this, I recommend that you continue your Debussy experience with the following: Debussy: Orchestral Works I and Debussy: Orchestral Works II

This is a brilliant assembly of Debussy. .......2006-07-08

After listening to his "Greatest Hits," I know why he is considered one of the best.

THIS IS THE STUFF RIGHT HERE!.......2005-09-12

I BOUGHT THIS BECAUSE I WAS TRYING EXPAND MY HORIZONS, YOU KNOW? CULTURALLY AND MENTALLY, YOU KNOW? SERIOUSLY THOUGH I WAS IN THE SHOP AND I WAS HAVING A GAZE AROUND THE PLACE AND THEN THIS PICTURE JUST JUMPS OUT AT ME, AND I PICKED IT UP AND IT WAS THIS DEBUSSY CHAP AND ID HEARD ABOUT HIM ON THE BBC LEARNING ZONE SO I THOUGHT ;why not?; SERIOUSLY THOUGH I DRAGGED IT HOME AND I POPPED IT IN THE OLD CD PLAYER AND IT FLOORED ME.......I MEAN SERIOUSLY THIS THING...AMAAZING STUFF..I MEAN TODAYS MUSIC HAS NOTHING, NOTHING NOTHING ON THIS STUFF RIGHT HERE.

SOME GOOD TRACKS ARE:
TRACK 1 IS THE BEST. THE OPENING FLUTE ON THE TRACK IS TOTALLY CHILLED AND COOL, REMINDS ME A BIT OF TRACK 13 ON ILL COMMUNICATION BY THE BEASTIE BOYS...A COINCIDENCE???

THE ONLY WEAK TRACK ON THE ALBUM IS TRACK 6, THE UNFORTUNATELY TITLED "CHILDRENS CORNER SUITE: GOLLIWOGGS CAKE WALK" THE MUSIC IS JUST DATED MAN, JUST AS DATED AS THE TITLE.

OVERALL THOUGH THIS IS A QUALITY ALBUM, WITH CHILLS, SPILLS AND THRILLS. SERIOUSLY THOUGH A FINE EFFORT.

Debussy is the best. Ever........2004-07-23

I love Debussy and all of his brilliant work. I barely listen to any other classical music, so I am not an authority, just an honest lover of music. I play piano and love piano music, so I was not disappointed at a piano Flaxen-Haired Girl. I've never heard an orchestrated version and don't need to. This is a good introductory CD to Debussy's work, I love it! The only thing I don't care for is the Arabesque #1 (Track 9). The horn is kind of grating and clunky to hear in such an otherwise beautiful piece. Still, its interesting and different. Everything Debussy made is purest gold.

i am dumb.......2004-07-01

And I'm a doomass because I didn't proof-read my other review and I wrote that Clair de Lune was performed by piano on this disc, which it isn't. Anyway, the piano version is better.

Average customer rating:

It's French, It's Quebec, It's Wonderful Music
Vive l'amour / Reel à Ti-Zoune
Celtic with a twist!
SPIRITUALLY UPLIFTING, TOE-TAPPING, HUMMING ALONG......
Traditional music with a contemporary feel

Maudite Moisson !
Le Vent du Nord
Manufacturer: Borealis Recording
ProductGroup: Music
Binding: Audio CD

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Les Amants du Saint-Laurent
When All Is Said and Done
Wayward Son
Les Charbonniers de l'Enfer: Wo
Daybreak: Fáinne an Lae

ASIN: B0000AISXV
Release Date: 2003-09-02

Tracks:

Au bord de la fontaine
Les trois frs Roy
Grand Pit / Reel eux ts
Gros Richard
Cher amis buvons
Quatre poilus
Le moine complaisant
Par un dimanche au soir
Valse pour une f
La Chanson d'Hortense / Gigue des militaires
Suite de Virginie
Riton / C'est dan Paris
Vive l'amour / Reel i-Zoune
Petit r II

Album Description

Irresistible energy -- traditional music from Québec! The timeless beauty of Québec's dancing and singing traditions harvested by some of its best and brightest. Maudite Moisson ! features a range of traditional songs from Québec and France with lively hints of jazz, blues and world music influences.

Customer Reviews:

It's French, It's Quebec, It's Wonderful Music.......2007-01-05

This group caught my eye on the Richmond, VA folk festival homepage. They are from Quebec, their music is French-canadian Quebecoise but mostly importantly, their music is wonderful! Almost every song on this CD is unique and well produced. If you don't understand French then go to their website and see the translation there--but you really don't need to know French to enjoy the music. This is not just some collection of esoteric folk songs, this group provides an intertaining brand of traditional music while preserving the roots of each song's musical origin. I love the foot tapping beat that accompanies almost every song. The group masterfully blends various folk instruments to include the Hurdy Gurdy.

The group's real talent though is their ability to work together in their play and in their call-and-response harmonies that will have you humming many of their tunes in your head long after you've heard them.

Among my favorites are Grand Pit/Reel a deux tetes, Vive L'amour/Reel a Ti-Zoune, and Cher Amis Buvons

Grand Pit/Reel a deux tetes--This is a great song and if you take the time to understand the lyrics it tells a great story that I seem to recall all too well in one form or another from my childhood in Northern Maine.

Vive L'amour--lively, catchy, and upbeat this is one of those songs your remember and hum to all day long.

Cher Amis Buvon--I can't help to think that this is the quebecoise version of a rap song. It's short and it's just vocals and feet but I found myself trying in vain to sing it myself--so cool.

Also great are Au bord de la Fontaine--sets the tempo for the rest of the CD. Riton/C'est dan Paris--a ballad that just is so well sung that it sends chills through me everytime I hear it.

If you're into Celtic and Folk and want to try a refreashing change of pace and good music check this group out. I have a feeling these guys will be around for quite some time putting out great music.

Vive l'amour / Reel à Ti-Zoune.......2005-10-05

This song is so catchy! I've been humming it all day. These guys are great.

Celtic with a twist!.......2005-08-03

Le Vent du Nord is traditional Quebecois music - that is, Celtic with a certain something that, for me, is the spirit of Quebec. With the traditional foot-tapping accompanying every song, amazing multi-part harmony by well-developed male voices, Maudite Moisson ! is a must for anyone who enjoys music with great rhythm and lots of soul! My particular favorites are tracks 1 (Au Bord de la Fontaine), 5 (Chers Amis Buvons) and 7 (Le Moine Complaisant). Don't let the language stop you! All the songs are well-described in the libretto so that, although you may not understand every word, you understand the spirit behind the sound. This album gets the highest recommendation from this music-lover.

SPIRITUALLY UPLIFTING, TOE-TAPPING, HUMMING ALONG.............2004-08-12

this cd was a surprise to us all this summer....completely engaging for all ages and languages! the spirit of the music is intoxicating. we cant turn it off.

Traditional music with a contemporary feel.......2003-12-17

This is a wonderful record of traditional music from Quebec. The music tends to be upbeat, toe-tapping music, often accompanied by foot-clogging that makes you want to get up and dance. These upbeat numbers are mixed with some beautiful waltzes and laments. Many of the songs also have the traditional Quebecoise call-and-response structure. More often than not the songs have playful, humorous lyrics, contrasting with melodies that sound like they were born of lives of hardship. Other melodies swing or have a lyrical or wistful feel to them. One traditional Quebec lament, about a man who swears off women and retires to a convent, has been given a slow, jazzy guitar and piano accompaniment that wouldn't be out of place in Porgy and Bess. The singing and musicianship on fiddle, accordion, guitar and hurdy-gurdy is great and there is a liveliness and freshness throughout. French song words are provided in the accompanying booklet, along with brief French and English notes on each piece. I have heard this band in concert, and the record captures the fun and energy of their live performances.

Average customer rating:

ORDER AND BEAUTY
Breathtaking

The Songs of Henri Duparc

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
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The Songs of Chausson / Lott · Murray · McGreevy · Trakas · Chilingirian Quartet · G. Johnson
Gabriel Fauré: The Complete Songs, Vol. 3
Fauré: The Complete Songs, Vol. 2: Un paysage choisi
Fauré - The Complete Songs, Vol. 4 ~ Dans un parfum de roses
Songs by Bizet

ASIN: B000002ZLE
Release Date: 1993-06-21

Tracks:

L'Invitation au voyage
Serenade florentine
Testament
Phidyle
Extase
La vague et la cloche
Chanson triste
Le Galop
Romance de Mignon
Serenade
La Fuite
Lamento
Elegie
Le manoir de Rosemonde
Au pays ou se fait la guerre
Soupir
La vie anterieure

Customer Reviews:

ORDER AND BEAUTY.......2006-08-30

Duparc composed little and published less. The 17 songs with piano (including one duet) that we have on this disc - just over one hour of music - constitute virtually all he chose to leave us as a musical legacy after more than 80 years of life. Some of the poets he set are familiar names - Baudelaire, Gautier, Sully-Prudhomme, Leconte de Lisle, one translation from Goethe - but three of the 17 are by one Jean Lahor. What they have as a common theme is a sense of incapacity to deal with mundane life, this manifested in the earlier poems as an escape into fantasy and dreams, lapsing into lonely sadness in the later. Whether the poetry of Lahor is of `middling quality', in the supercilious phrase of the liner-note writer, I wouldn't be knowing. My own French has no difficulty with understanding the literal meaning of anything here, and it is probably up to recognising the stature of Baudelaire, but whether it is good enough to pass such judgments on the plain and innocent-seeming verses of Lahor I am not so sure. It seems to me that a native speaker of French might miss the magic behind the simple diction of Housman, and what I seem to find in Lahor is at least a patent and fragile sincerity.

This poetry is set to a music of exquisite refinement and poise. There is clear influence from Wagner in one or two ways, particularly in some of the more vigorous accompaniments and probably also in the almost total avoidance of word-repetition, but the very French sense of atmosphere is as strong as it is in Debussy, and the vocal lines combine a Wagnerian flexibility with a delicate lyricism that recalls Berlioz. Duparc was also an outright perfectionist, and perfectionism is catching. It infects even such a slattern as I am myself when I listen to these fine-spun little masterpieces, and it seems to me that nothing less than total perfection in their performance can do them full justice.

What I find in this recital is total perfection from Thomas Allen, but only excellence from Sarah Walker and Roger Vignoles. They all show thorough understanding of this music, and they convey their understanding with both power when required and discretion, which is always required. I could probably ask for nothing more by way of insight into the soul of the works. Where I find something slightly lacking is at a more mundane level. Apart from a couple of slightly uneasy high notes, Sarah Walker's technical command is assured, and I feel more than a little ungallant in saying crudely that her voice is not quite what is needed for Duparc - it is just slightly ordinary, and her French is not as good as Allen's either. As the recital progressed I longed more and more for Veronique Gens, whose memorable Berlioz Nuits d'Ete came back forcefully into my mind. As for the accompaniment, it calls for the highest praise in its mastery of the idiom and style (which are more varied than you might expect). Vignoles catches the special and elusive atmosphere of this special and elusive composer with genuine and deep insight, and there is real and impressive power in the later sequences of the last song of all. However the shortcomings - slight but in this context very telling - are once again at a more humdrum level. The touch needs to be the last word in the `order, beauty, comfort, peace and pleasure' that Baudelaire himself yearns for in `L'Invitation au Voyage'. In particular the frequent tremolando sequences call for superhuman evenness, and when I ask myself `Who do I want to be doing this?' the answer that comes to me is as much a fantasy as anything in the poems - I want Michelangeli.

For some reason credits are given in the liner to the translators of only three of the poems. I can think of no reason for this discrimination, and all the translations are in my own opinion excellent. I spotted no misprints in either English or French, unless Baudelaire's `ciels', which Lahor and I thought was `cieux', is one of those and not his divine afflatus as I am assuming. The liner-note itself is businesslike and informative, and the recorded quality gives me no grounds for criticism. This is a fine production, and whether or not I have laboured my reservations unduly I recommend it cordially. Perfection was what I had wanted. It is not quite what I have got, but I have got a great deal nonetheless, and it may be a long time before I am given as much again.

Breathtaking.......2002-08-23

The music of Duparc is as intense, layered, complex, and as emotional as the man who wrote it - who in fact, drove himself mad in the process. To convey this music effectively, a journey must be taken by the vocalist and the pianist into rich text and engulfing harmonies, without drowning in over analysis & self indulgence. There is a foreboding sense of secret, or the opening of a private self, and a great vulnerability and tenderness in this music. Here, the vocalists Allen & Walker, present immaculate readings of these 17 works, along with the supreme artisty of Vignoles. These recorded pieces are such exquisite duets between voice and piano that they leave you in rapture. Walker's mellifluous "Extase" with it's Wagnerian, lush accompaniment is impeccable and haunting. Allen opens his soul, along with those of the poet and composer, in "Soupir" - laden with all the angst of unrequited love. Both he and Vignoles transport their listener heavenward on soft stardust in their intimate "Serenade Florentine". This is divinely inspired music. Honest. Unpretentious. Transcendental.

Average customer rating:

Revelatory.
A primary source for interpreting Debussy

Claude Debussy: The Composer as Pianist

Manufacturer: Pierian
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Maurice Ravel: The Composer as Pianist and Conductor
Bartók Plays Bartók
Alexander Scriabin: The Composer as Pianist
The Composer as Pianist
Prokofiev Plays Prokofiev

ASIN: B00005IC03
Release Date: 2000-09-26

Customer Reviews:

Revelatory........2004-01-27

Debussy lived into the age of recording, but the primary documents of his playing are his Welte-Mignon piano rolls. The Welte-Mignon contraption was a mechanical "player" which you set before a regular piano. It differed from the familiar player piano in that it could reproduce not only dynamics but touch and pedal technique. Mahler also recorded some of his pieces in this way. The problem with these things is their extreme fussiness. There's a problem with getting them to play at the intended speeds. You don't know, for example, how fast or slow Debussy intended, say, "La cathedrale engloutie" simply by looking at the roll. Also, apparently Welte-Mignon players were fitted to the individual piano. However, Pierian has used the talents of an engineer, Kenneth Caswell, who has devoted decades to the innards of the player, and the results have won the imprimatur of Harold Schoenberg himself, formerly a severe critic of modern Welte-Mignon reproduction. That's good enough for me.

All that said, I consider this one of the ten most important releases in the history of recording, even though I don't know what the other nine would be. Debussy is one of the master composers of keyboard music, along with Scarlatti, Bach, Beethoven, Chopin, Brahms, Schumann, Liszt, Bartok, Ravel, and Prokofiev. So the recording is the equivalent of having Bach play the Goldbergs for you. Does Debussy differ from benchmark performances, like Gieseking? Not to take anything away from Gieseking, but, yes, he does. I can describe it as an extreme inwardness, as if the composer were communing with himself. The fingerwork isn't as sure as some, but the outstanding feature of the playing is its outstanding singing or, considering the composer's subtle temperament, humming. I can't imagine anybody interested in Debussy's piano music passing up this CD.

We also get Debussy's acoustic recordings as Mary Garden's accompanist in the Ariettes oubliees and in an extract from Pelleas. These to me have more problems than the rolls, mainly because the sound is so crude, but I make that judgment precisely because I have the rolls. Without Caswell's dedication, I'd have been extremely grateful for the acoustic recordings.

A primary source for interpreting Debussy.......2002-07-02

This is an album of Debussy's piano works played by Debussy himself. Most of the pieces are from rolls recorded by Debussy and played on Ken Caswell's beautifully and carefully restored Welte reproducing piano. There are also four acoustic recordings of Debussy vocal works, with Debussy playing piano.

The Welte reproducing piano records and plays back many aspects of piano playing (dynamics and touch) at remarkably high fidelity for the time. Thus these piano rolls are primary documents showing how Debussy intended his works to be played. While these recordings to not have the fidelity of modern acoustic recordings, it is possible to detect pedaling, tempo and dynamics. This recording has been the basis of scholarly research, such as the essay by Cecilia Denoyer in the book "Debussy in Performance", edited by James Briscoe.

The acoustic recordings of the vocal works are of much lower fidelity, but do give a sense of Debussy's feel of the piano.

If you are studying Debussy's piano works and want to know how to interpret his notation, this album is for you. If you just want to listen to Debussy's piano works, a modern recording may be more musically pleasing, but you may still enjoy hearing the pieces as they were played by the master himself.

Average customer rating:

Quebec traditional joy
The sophmore effort--a little more serious but still very fun!
fabulous concert-can't wait to hear C.D.
Wow!

Les Amants du Saint-Laurent
Le Vent du Nord
Manufacturer: Borealis Recording
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music

Traditional Folk | Folk | Styles | Music

Celtic Folk | Traditional British & Celtic Folk | Folk | Styles | Music
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Maudite Moisson !
Wayward Son
In Play
When All Is Said and Done
Les Charbonniers de l'Enfer: Wo

ASIN: B000978ZG0
Release Date: 2005-03-01

Tracks:

Les Amants du Saint-Laurent
La Semaine du Paysan
Marguerite
Train de Vie
Du Haut du Balcon
Nous Sommes si Bien able
Le Bon Buveur / Le Reel du Quatri
C'est une jeune mari
Gigue rois
La Valse a Huit Ans
Crardi / La Turlutte du Rang des Sloans
Le Retour du Fils Soldat
De la Chambre a Cuisine

Album Description

Le Vent du Nord is back! The four musicians of this Juno Award winning traditional supergroup have put together a treasure trove of new songs that will grab everyone from the first note. Les amants de Saint-Laurent (Lovers of the St. Lawrence) has speci.borealis.2005.

Customer Reviews:

Quebec traditional joy.......2007-05-06

Take a fiddle, guitar, hurdy-gurdy, and concertina; add Celtic tuneful dances; mix with New World frontier spirit; flavor with French pride; sing in synchronous harmony; and perform like there is no tomorrow: what you get is a recording to bring smiles. Lively pieces are mixed with quiet reflections. Many of the tracks are based on 18th- and early 19th-century French folk tunes; others originated in French Canadian soil. This is fun music. Enjoy!

The sophmore effort--a little more serious but still very fun!.......2007-03-02

Les Amants was my second Vent du Nord purchase and I found it almost equally as fun as their debut album, Maudite Moisson! The group seems to venture on some songs like Le Retour du Fils Soldat--a moving and emotional song--into more serious ballads but still retain the fun that the first CD offered. Cre Mardi is the most fun song of the whole CD. Anyone hearing it will want to learn french just to sing the responses.

The rest of the music is very good overall. This group seems committed to staying in the traditional vein while bringing new life to old songs--and really isn't that what it's all about with many Celtic/folk groups when replaying traditional music?

Although not as fresh as their debut effort, this CD is still a unique pleasure to listen to. I feel that this group's talent will produce even greater productions here in the future. They play well and sing well toghether--there's chemistry. They are due to release another CD this year and I for one am anxious to make Le Vent du Nord a 3-CD collection when it does.

fabulous concert-can't wait to hear C.D........2006-10-20

I just saw this band in concert last night in Nashville, TN. It was fabulous and can't wait to receive their CD in the mail. If you are a francophile but also love celtic music, this band is right up your alley.

Wow!.......2006-10-16

Just saw these guys live at the National Folk Festival in Richmond, VA in Oct 2006, and they were great! Loved the music even though couldn't understand words. The stand that was selling CD's sold out, so that's why I am on the web looking to buy, I haven't heard this CD and am not sure which one I will get but, good band.

Average customer rating:

Formidable.....my single favorite rap album of all time.
A Real Treat: Not quite like any other rap you've ever heard
Buy this CD, if you've made it this far! You won't regret it
french star
find something new each time

Qui Seme le Vent Recolte le Tempo
MC Solaar
Manufacturer: Musicrama Records
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

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Prose Combat
Mach 6
La Haine
Paradisiaque
L' Ecole du Micro D'Argent

ASIN: B000004C2W
Release Date: 1994-07-25

Tracks:

Intro
Qui Seme Le Vent Recolte Le Tempo
Matiere Grasse Contre Matiere Grise
Victime De La Mode
L'histoire De L'art
Armand Est Mort
Quartier Nord
Interlude
A Temps Partiel
Caroline
La Musique Adoucit Les Moeurs
Bouge De La (Part 1)
Bouge De La (Part 2)
Ragga Jam
La Devise
Funky Dreamer

Album Description

1991 release on Polydor featuring 16 tracks, including 'Qui Seme Le Vent Recolte Le Tempo', 'Victime De La Mode' and 'Funky Dreamer'. The full title is 'Qui Seme Le Vent RecolteLe Tempo'.

Album Details

L'original Series. Debut Album from the Best French Rapper. Check Out his Samples from 70's Hard to Find Master Grooves and his Unique Flow Spiced Up with Numerous Play on Words. Digitally Remastered. Digipack.

Customer Reviews:

Formidable.....my single favorite rap album of all time........2003-07-18

This dude has the gift. His lyrics are outstanding. Anyone who's heard him knows it. I learned as much french from this guy as I did from 6 years of class. Even if you're not into French the cadence is undeniably entertaining. And his dj is awsome too. All the tracks are cool. The best on this cd include Quartier Nord, l' Historie d' Art and Bouge de la of course. Take my recomendation for what its worth, but this guy was ahead of his time. If he rapped in English, forget it, he be up there in popularity with anyone.......Anyone.

A Real Treat: Not quite like any other rap you've ever heard.......2001-08-13

THIS DISC IS ABSOLUTELY WORTH THE PREMIUM IMPORT PRICE! It's definitely my favorite MC Solaar disc & one of my best rap CDs, period. It doesn't matter if you don't speak a word of French (I remember a little from 2 semesters in high-school), the sounds and rythm are so intricate and energetic that they more than make up for the jokes and whatever meaning you fail to pick up from the cognates, tone, and musical context.

Also, consider picking up Planet Rap, before it goes out of print. And Tour De La Question is a good 2-disc (live) sampling of many of Solaar's hits. I find his other later releases less compelling than this one.

BTW, if it helps, I should note that I find this disc somewhat reminiscent of good 80's rap.

Buy this CD, if you've made it this far! You won't regret it.......2001-05-31

Claude MC has an amazing gift. His ability to use language, sound, rythym & music to convey a message, at times one that is socially or politically charged, is exceptional. Somehow, in the midst of a song such as "l'Histoire de l'Art," which really flows, the idea that rappers have been discrimated against by certain elements of society who fail to see rap as an art form is introduced. Solaar, using humor, wit, an outstanding intellect and his sheer charisma, easily and non-confrontationally makes the point that the history of art is not complete until it includes the works of ALL artists. Bien Fait, Claude MC, Bravo!

The background tracks are for the most part smooth. A bit of a jazz & blues feel to them (perhaps its the saxophone) mixed with more elements familiar to modern hip hop and rap. This juxtaposition is transfixing.

Although I myself am a French speaker, I find that you do not need to know the language to enjoy Solaar's music. Fluency in the French language, however, does allow you to appreciate his music that much more as you can fully experience the joy of this gifted musician from Senegal's play with language. His lyrics are so full of such wit and irony!

Somehow I can't seem to take this CD out of my car stereo. I guess that its just so good that I want to listen to this CD at every chance I get (and its been over a year since I purchased it!)

I would highly recommend MC Solaar's Qui Seme le Vent Recolte le Tempo to anyone even thinking of buying it. If you've made it to this page, put it in your shopping cart. I promise that you will have no regrets.

french star.......2001-04-03

mc solar..is soooooooooooo hot..dig..the tunes... fashionstylist@vogue.co.uk natalie kissane

find something new each time.......2001-02-01

I've had this album for about a month now, having heard "qui sème le vent" and my favourite song keeps changing. Initially it was "Victime de la mode" with the bit "Dominique, écoutes bien ce funky beat" and the message of the story. Then it was Bouge de la (part 1)

Tracks:

Symphony No. 1 'Le Printemps', Op. 43: Allant: Chantant: Et Vif!
Symphony No. 2 'Pastorale', Op. 49: Joyeux: Calme: Joyeux
Symphony No. 3 'Serenade', Op. 71: Vivement: Calme: Rondement
Symphony No. 4 For Ten String Instruments, Op. 74: Ouverture (Anime): Choral (Assez Lent); Etude
Symphony No. 5 For Ten Wind Instruments, Op. 75: Rude; Lent; Violent
6 For Soprano, Contralto, Tenor, Bass, Oboe & Cello, Op. 79: Calme Et Doux; Souple Et Vif; Lent Tres Expressif
L'homme Et Son Desir For Soprano, Contralto, Tenor, Bass, And Orchestra, Op.48
Concerto No. 2 For Piano & Orchestra, Op. 228: Anime; Romance; Bien Moderement Anime
Suite Cisalpine Sur Des Airs Populaires Piemnotais For Cello & Orchestra, Op.332

Tracks:

Le Boeu Sur Le Toit, Op.58
Concerto For Percussion And Small Orchestra, Op.109: Modere
Concerto No. 1 For Viola And Orchestra Of Soloists, Op.108: Anime; Lent; Souple Et Anime
La Muse Menagere, Op.245: La Mienne; Le Reveil; Les Soins Du Menage; La Poesie; La Cuisine; Les Fleurs Dans La Maison...
Le Carnaval D'Aix For Piano And Orchestra, Op.83b: Le Corso; Tartaaglia; Isabelle' Resetta; Le Bon Et Le Mauvais Tuteur...

Customer Reviews:

Totally idiomatic, delightful music-making.......2004-09-15

Milhaud's works do not generally need smooth, sleek lines and perfection of tone. This is bubbly, joyous music that must have the spirit before everything. And this set provides that in great quantity. Just listen to 'Le Boeuf sur le Toit': the Orchestra of Radio Luxembourg are not the finest band in the world, the ensemble isn't everything it should be, but they are utterly inside this music. And it works perfectly- it completely evokes the atmosphere of the slightly seedy Brazilian boite du nuit. And I challenge anyone to listen to the whole piece without raising a smile. Add the pieces which are under the baton of Milhaud himself, and you have a set that's well-nigh indispensible for lovers of 20th century French music.

Milhaud, The 6 Little Symphonies.......1999-11-24

Thoroughly delightful recording. Everything on it is enjoyable, lovely music.

Average customer rating:

The Art of Ruggiero Ricci

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B0001NPTX4
Release Date: 2005-10-18

Average customer rating:

Stunning. . . .
PORTRAIT OF AN ARTIST
A world-changing musician
CZIFFRA - A Keyboard Phenomenon

Les introuvables de Cziffra

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

Bourees | Ballets & Dances | Classical | Styles | Music

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Similar Items:

Liszt: Works For Piano
Rendez-vous de Senlis
Georges Cziffra Plays Chopin, Liszt & Franck (EMI Classic Archive)
Chopin: uvres pour piano
Liszt: Piano Concertos; Totentanz; Hungarian Fantasy

ASIN: B000002SBW
Release Date: 2002-08-12

Tracks:

La Campanella, Grande Etude De Paganini No. 3
Nocturne No. 3 In A Flat Major, Reve D'Amour
Mephisto Valse (D'Apres Le Faust De Lenau)
Les Jeux D'Eau A La Villa D'Este
Valse Oubliee No. 1
Rhapsodie Espagnole
Valse Impromptu
La Ronde Des Lutins, Etude De Concert No. 2
Grand Galop Chromatique
Apres Une Lecture Du Dante, Fantasie Quasi Sonata (Extrait From 'Les Annees De Pelerinage')

Tracks:

Polonaise D'Eugene Oneguine (Tchaikovsky)
Rigoletto, Paraphrase De Concert (Verdi)
Tarentelle De Bravoure Sur Des Theme De 'La Muette De Portici' (Auber)
Valse De Faust (Gounod)
Improvisation Sur Les Themes De Guillaume Tell (Rossini)
Valse Triste (Vecsey)
Tritsch Tratsch Polka (Johann Strauss)
Le Beau Danube Bleu, Paraphrase (Johann Strauss)
Danse Hongroise No. 5 (Brahms)
Fantaisie Roumaine (Improvisation Dans Le Style Tzigane)
Le Vol Du Bourdon (Rimsky-Korsakov)

Tracks:

Islamey, Fantaisie Orientale
Toccata In C Major, Op. 7
Andante Et Rondo Capriccioso In E Major, Op. 14
Rondo In E Flat Major, Op. 11
Polonaise In C Major, Op. 89
Rondo A Capriccio In G Major, Op. 129
Andantino In B Minor
Bourree In E Flat Major
Sonata In C Major, K159
Le Tic Toc Choc ,Ou Les Maillotins
Les Barricades Mysterieuses
L'Anguille
La Bandoline
Les Petits Moulins A Vent
Les Folies Francaises Ou Les Dominos
La Poule
Le Rappel Des Oiseaux
Gavotte En Rondeau

Tracks:

Variations In C Major, Sur 'God Save The King', WoO 78
12 Variations In A Major, Sur Un Theme Russe (Wranitzky), WoO 71
32 Variations In C Minor, WoO 80
Fantaisie In F Minor, Op. 49
Book 1 - Variations Sur Un Theme De Paganini, Op. 35
Book 2 - Variations Sur Un Theme De Paganini, Op. 35

Tracks:

I. Grave - Allegro Molto E Con Brio, Sonata No. 8 In C Minor, Op. 13
II. Adagio Cantabile, Sonata No. 8 In C Minor, Op. 13
III. Rondo, Sonata No. 8 In C Minor, Op. 13
I. Allegro - Sonata No. 10 In G Major, Op. 14
II. Andante - Sonata No. 10 In G Major, Op. 14
III. Scherzo -Allegro Assai - Sonata No. 10 In G Major, Op. 14
I. Andante Con Variazioni - Sonata No. 12 In A Flat Major, Op. 26
II. Scherzo (Allegro Molto) - Sonata No. 12 In A Flat Major, Op. 26
III. Marcia Funebre (Andante Maestoso) - Sonata No. 12 In A Flat Major, Op. 26
IV. Allegro - Sonata No. 12 In A Flat Major, Op. 26
I. Andante - Allegro -Allegro Molto Vivace - Sonata No. 13 In E Flat Major, Op. 27
II. Adagio Con Espressione - Sonata No. 13 In E Flat Major, Op. 27
III. Allegro Vivace - Sonata No. 13 In E Flat Major, Op. 27

Tracks:

Preambule Carnaval Op9
Pierrot Carnaval Op9
Arlequin Carnaval Op9
Valse Noble Carnaval Op9
Eusebius Carnaval Op9
Florestan Carnaval Op9
Coquette Carnaval Op9
Replique Carnaval Op9
Papillons Carnaval Op9
A.S.C.H., S.C.H.A., Lettres Dansantes Carnaval Op9
Chiarina Carnaval Op9
Chopin Carnaval Op9
Estrella Carnaval Op9
Reconnaissance Carnaval Op9
Pantalon Et Colombine Carnaval Op9
Valse Allemande - Intermezzo: Paganinni Carnaval Op9
Aveu Carnaval Op9
Promenade Carnaval Op9
Pause Carnaval Op9
Danse Des Davidsbundler Contre Les Philistins Carnaval Op9
I. Des Abends Fantasiestucke Op12
II. Aufschwung Fantasiestucke Op12
III. Warum? Fantasiestucke Op12
IV. Grillen Fantasiestucke Op12
V. In Der Nacht Fantasiestucke Op12
VI. Fabel Fantasiestucke Op12
VII. Traumeswirren Fantasiestucke Op12
VIII. Ende Vom Lied Fantasiestucke Op12
I. Allegro - Carnaval De Vienne, Op. 26
II. Romanze - Carnaval De Vienne, Op. 26
III. Scherzino - Carnaval De Vienne, Op. 26
IV. Intermezzo - Carnaval De Vienne, Op. 26
V. Final - Carnaval De Vienne, Op. 26

Tracks:

Fantaisie Hongroise In F Major For Piano And Orchestra
Totentanz, Paraphrase Sur Le 'Dies Irae' Pour Piano Et Orchestre
Variations Symphoniques Pour Piano Et Orchestre
I. Allegro Molto Moderato - Concerto For Piano And Orchestra In A Minor, Op. 16
II. Adagio - Concerto For Piano And Orchestra In A Minor, Op. 16
III. Allegro Moderato Molto E Marcato - Andante Maestoso - Concerto For Piano And Orchestra In A Minor, Op. 16

Tracks:

I. Adagio Sostenuto Assai - Concerto No. 2 For Piano And Orchestra In A Major
II. Allegro Agitato Assai - Concerto No. 2 For Piano And Orchestra In A Major
III. Allegro Moderato - Concerto No. 2 For Piano And Orchestra In A Major
IV. Allegro Deciso - Concerto No. 2 For Piano And Orchestra In A Major
V. Marziale, Un Poco Meno Allegro - Concerto No. 2 For Piano And Orchestra In A Major
VI. Allegro Animato - Concerto No. 2 For Piano And Orchestra In A Major
I. Allegro Maestoso - Concerto No. 1 For Piano And Orchestra In E Flat Major
II. Quasi Adagio - Concerto No. 1 For Piano And Orchestra In E Flat Major
III. Allegretto Vivace - Allegro Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
IV. Allegro Marziale Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
I. Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
II. Andante Semplice - Prestissimo - Tempo 1 - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
III. Allegro Con Fuoco - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23

Customer Reviews:

Stunning. . . . .......2007-01-10

I bought this set with some trepidation, since I didn't know what to expect from Cziffra's playing of composers other than Liszt. I had only heard him in his mercurially brilliant Lisztian incarnation, and didn't know how he would do with a less flamboyant style.
I have been very pleasantly surprised, especially at his Beethoven and his Schumann. I found that he kept the spontaneity of his Lisztian interpretations, but channelled it chronologically into insightful and spontaneous Beethoven interpretations, while respecting most of the rules and performance practices of the Classic era.
His Schumann was mercurial and spontaneous in a Romantic fashion, also, and - of course - brilliantly digitally played. As to the Liszt, it's par excellence; I've never heard that music played with such spontaneity and
digital fluency.
The sound quality is surprisingly good, altho somewhat uneven. I highly recommend this set to anyone who loves great piano-playing. My favorite pianist is still Richter, but Cziffra takes first prize in his Liszt, and runs a close second with other composers' music.

PORTRAIT OF AN ARTIST.......2006-10-15

The eight discs making up this set are invaluable to anyone interested in this extraordinary musician and pianist. His career was cut tragically short, and while it lasted he was most in demand to display his astounding technique in Liszt. He did it because he could. Not being enormously attracted to Liszt I was slow in coming to know Cziffra, but when I did what struck me forcibly was that the picture I had been given of him was seriously misleading. Any suggestion that he was a wilful virtuoso who turned the standard classics into something of his own is 180 degrees wide of the mark, and this selection enables us to hear what his playing was really like in music ranging from Lully and Couperin to the late 19th century, taking in on the way Rameau, Scarlatti, C P E Bach, Beethoven, Hummel, Chopin, Mendelssohn and Schumann. Liszt is here in the shape of the two concertos, the Totentanz and the Hungarian Fantasy plus some solos, my collection of least favourite romantic concertos is enhanced with his renderings of the Grieg and Tchaikovsky, but relief from these is provided with Franck's symphonic variations. Among the non-Liszt solo pieces we are given a number usually thought to call for exceptional virtuosity, namely Schumann's toccata, Mendelssohn's rondo capriccioso and Brahms's Paganini variations. Balakirev's Islamey is here too, but in a version of Cziffra's own, and so are some of his own virtuoso arrangements including one of the Flight of the Bumblebee as well as four similar efforts from Liszt.

Cziffra himself didn't aid popular comprehension by saying that he couldn't play Beethoven. I already owned his Waldstein, but here we have four more sonatas plus some smaller pieces, all early works. If I have a fault to find with his Waldstein it's that it is rather understated. What I don't fault at all is his sense of Beethoven's idiom, and the only flash of Cziffra's phenomenal technique comes where there can be no objection in the up-and-down octaves near the end. These are normally played glissando, because to finger them in strict time is impossible, allegedly. Even Horowitz can't do that - but Cziffra can. This really sums up his way of doing things - the technique is exercised strictly when needed, and then not in a showy way unless the sense of the music demands that. Try the Mendelssohn rondo here - light-fingered in the main rondo theme, relaxed in the episodes - then hear Serkin on Aura in his 1957 recital in Lugano, high-tension and full-speed-ahead. Serkin brought the audience to its feet, Cziffra is simply enjoying the piece, and very Mendelssohnian he sounds. Or again the Schumann toccata. Richter won raptures from the critics for his handling of the rat-tat fortissimo chords near the end while making no concessions to the tempo. He does that no better than Cziffra, if as well. The difference is that Richter `makes more' of the supposedly virtuoso sequences earlier. Now how about Cziffra's Beethoven here? It is natural, idiomatic and kept within a certain volume-level. There is no showing off let alone messing around. If Cziffra recalls anyone it is Kempff, and these performances would be safe models for teachers. In Schumann it's the same story. Not everyone could play Traumeswirren like this, and here and there the finger-work had me rubbing my eyes, but I keep sensing that Cziffra is not even aware that he's doing anything exceptional. The idiom is dead right, the rubato is natural, the lyricism is spontaneous if less `warm' than some, the sense of the overall structure is effortless - and I could say all that about Chopin's F minor fantasy too.

I can't avoid Liszt, but some comparisons are interesting. This high-powered Totentanz has been rightly praised, but both in this work and in the first concerto I feel that Michelangeli beats Cziffra at what is supposedly Cziffra's own game. I hear Michelangeli as Cziffra's solitary equal as a technician, but in second-rate music like this spontaneity and dexterity are trumped by an above-it-all Olympian aloofness, and Cziffra undoubtedly does not take the ultra-care that Michelangeli takes over perfect evenness of touch, sublime poise in the rhythm and super-perfection in the trills. (In the matter of trills, you can hear what Cziffra can do when he puts his mind to it in the fiendish 4th variation in book 1 of Brahms's Paganinis). In the 2nd concerto Cziffra is the best I have yet heard. In sheer technical address neither he nor anyone surpasses Richter, but where I like Cziffra better is in an aspect of his playing that gets too little attention, namely his natural and unaffected lyricism. In the Hungarian Fantasy, the Liszt solos and the various arrangements I imagine Cziffra is unsurpassed and unsurpassable, not that I propose to research that matter much.

The Grieg and Tchaikovsky concertos are here too. Cziffra adopts moderate tempi in the outer movements of the Grieg as the composer directs. The first movement of the Tchaikovsky is done as I like it, insofar as I like it at all. The introduction is taken fast, rather as Horowitz and Toscanini take it although I miss Toscanini's direction. The last movement however is taken at a very moderate pace, with the excitement saved for the end. Later performances are of some French music. In these pieces, as in the Scarlatti sonata, I wouldn't say that Cziffra stands out particularly - with one telling exception, Couperin's Barricades Mysterieuses, atmospheric and bewitching. Was this what they told you to expect from Cziffra?

He was a natural, a child of the gods. The near-unbelievable technique was an important part of his gift, but what I prize most is his lyric manner - simple, innocent and clear-eyed. His actual touch is not one that you could identify within seconds, as you could identify that of Horowitz, Serkin, Richter or Michelangeli, but it is utterly free from affectation. The better you know him, the more you will love him.

A world-changing musician.......2006-01-30

I've not a lot to add to Alan Thorpe's review except to say that to be young when Cziffra burst upon the world in 1956 after he left Hungary & started playing in western Europe was sheer intoxication--and it wasn't all Liszt either! Like Richter, who appeared at the same time, he played Schumann in a way that opened up entire new fields of tonal & interpretive possibility. I must say, too, that from the start, I admired his Beethoven--I like lyrically played Beethoven! Why shouldn't Beethoven sing as well as growl? He did write some lovely songs, after all. Cziffra's versions of Op.13, Op.14/2 & Op.26 on this set are very satisfying--I just wish they had managed to include a recording of his version of the Waldstein, too.

CZIFFRA - A Keyboard Phenomenon.......2001-05-26

Issued in 1991 by EMI France to celebrate Cziffra's 70th birthday this 8 CD boxed set is a bargain. The first CD is all Liszt and contains some of the most spellbinding playing you are ever likely to hear. Fire and brimstone reign as Cziffra tears up the keyboard in the Dante Sonata's demonic moments; surely a whiff of sulphur as he spontaneously combusts during the Mephisto-Valse; the Rhapsodie espagnole and Grand Galop chromatique {see him sweat playing this on Philip's `Great Pianists of the 20th Century video.}. As a contrast, be seduced by his heart-melting rendering of the third Liebestraume; the caprice of the Valse-Impromptu; and have the waters of `Les Jeux d'eau a la Villa d'Este' ever cascaded so onomatopoeically and with such a transcendental variety of touch and nuance. More diablerie follows on disc 2 with transcriptions by Liszt and those {in} famous ones by Cziffra himself. I have never heard a more demonic Gounod/Liszt ` Valse de Faust'; Auber/Liszt `Tarantelle de bravura'; or Tchaikovsky/Liszt Polonaise from `Eugene Onegin'; as for Cziffra's playing of his own transcriptions and paraphrases, especially the Strauss `Tritsch-tratsch polka' and Rimsky-Korsakov `Flight of the Bumble-bee; well, they are in a class of their own. Both Katsaris and Volodos recorded the latter pieces but I'm afraid they cannot compare with Cziffra's sheer electricity and panache. You will now need an ice pack as disc 3 opens with Balakirev's Islamey which starts steadily enough compared to say Simon Barere's famous account {now on APR} but increases in excitement as Cziffra adds all kind of gypsy embellishments as he builds to a fiery conclusion. Excitement is also the key to the next piece; Schumann's Toccata, which Cziffra plays with effortless abandonment and joie de vivre as he also does Mendelssohn's Rondo Capriccioso. Cziffra loved to play Baroque music and the rest of this disc is taken up by mainly short but characterful pieces by Couperin, Lully, Rameau and Krebs. Many were recorded in the 1980s and sound better if played back at a reduced volume level as they were obviously too closely miked. Cziffra once said that he couldn't play Beethoven so preferred to leave it to others who could. He did record a number of sonatas and this selection includes very fine accounts of the `Pathetique'; No. 13 in E flat Op27/1 {companion to the `Moonlight'};and Op. 26 in A flat. He brings a full cantabile to the latter works opening movt. and to the Adagio of the `Pathetique'. Elsewhere he plays with refinement and elegance; everything is in the best possible taste and there is nothing to offend, but those who like their Beethoven a bit more rough and gruff could be a bit disappointed as they might also be with Cziffra's Brahm's Paganini Variations which are technically stunning but find Cziffra musically out of sorts. The Schumann disc finds him on top form. Like many great artists Cziffra loved to play Schumann and he was equally at home with Eusebius { the dreamer} as he was with Florestan { the impetuous side of his character} and this is self evident in his brilliantly characterful accounts of Carnaval, Fantasiestücke, and Carnaval de Vienne - the latter piece highly praised by Cortot after he heard Cziffra during a Paris radio broadcast in the late 1950s. Discs 7 and 8 are all concertante works and show Cziffra at the very height of his stupendous powers. Again Cziffra has his demon up in the most astounding Liszt Totentanz ever recorded; a Hungarian Fantasy with all the improvisational colours of a band of gypsy fiddlers and an ideally recreative performance of the second concerto to make all others sound four-square . To cap this there is a fabulous Grieg concerto in which Cziffra dares to improvise the end of the Lisztian style cadenza; a meltingly beautiful slow movt with an excitingly brilliant finale. Last but certainly not the least, a very poetic reading of Franck's Symphonic Variations and a Tchaikovsky first concerto which combines thrilling virtuosity with all those individual touches that only a genuinely recreative artist can bring to such a familiar masterpiece. This collection is a splendid tribute to one of histories greatest pianists - an artist who knew the authentic meaning of ` bravura'.

Stravinsky: Ballets; Stage Works; Orchestral Works

Average customer rating:

Hours and hours of fun!
Prodigious performances!
Ansermet & Stravinsky - A Perfect Pair

Stravinsky: Ballets; Stage Works; Orchestral Works

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005ND3M
Release Date: 2002-05-14

Tracks:

The Firebird: Intro
The Firebird: Tableau 1: Kashchei's Magic Garden
The Firebird: Tableau 1: Appearance Of The Firebird Pursued By Prince Ivan
The Firebird: Tableau 1: The Firebird's Dance
The Firebird: Tableau 1: Prince Ivan Captures The Firebird
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The Firebird: Tableau 1: Dance Of Kashcheis Retinue Under The Firebird's Spell
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The Song Of The Nightingale: Feast In The Emperor's Palace
The Song Of The Nightingale: The Two Nightingales
The Song Of The Nightingale: Illness And Recovery Of The Emperor Of China

Tracks:

Petrouchka: Tableau 1: The Shrovetide Fair
Petrouchka: Tableau 2: In Petrushka's Room
Petrouchka: Tableau 3: In The Moor's Room
Petrouchka: Tableau 4: The Shrovetide Fair, Evening
The Rite Of Spring: The Adoration Of The Earth: Intro
The Rite Of Spring: The Adoration Of The Earth: Augurs Of Spring/Dances Of The Young Girls
The Rite Of Spring: The Adoration Of The Earth: Ritual Of Abduction
The Rite Of Spring: The Adoration Of The Earth: Spring Rounds
The Rite Of Spring: The Adoration Of The Earth: Ritual Of The Rival Tribes
The Rite Of Spring: The Adoration Of The Earth: Procession Of The Sage
The Rite Of Spring: The Adoration Of The Earth: The Sage
The Rite Of Spring: The Adoration Of The Earth: Dance Of The Earth
The Rite Of Spring: The Sacrifice: Intro
The Rite Of Spring: The Sacrifice: Mystic Circles Of The Young Girls
The Rite Of Spring: The Sacrifice: Glorification Of The Chosen One
The Rite Of Spring: The Sacrifice: Evocation Of The Ancestors
The Rite Of Spring: The Sacrifice: Ritual Action Of The Ancestors
The Rite Of Spring: The Sacrifice: Sacrificial Dance: The Chosen One

Tracks:

Pulcinella: Ov: Allegro Moderato
Pulcinella: Serenata: Larghetto 'Mentre L'Erbetta' - Carlo Franzini
Pulcinella: Scherzino: Allegro
Pulcinella: Allegro
Pulcinella: Andantino
Pulcinella: Allegro
Pulcinella: Ancora Poco Meno 'Contento Forse Vivere' - Marilyn Tyler
Pulcinella: Allegro Assai
Pulcinella: Allegro - Alla Breve 'Con Queste Paroline' - Boris Carmeli
Pulcinella: Largo 'Sento Dire No'nce Pace' - Marilyn Tyler/Carlo Franzini/Boris Carmeli
Pulcinella: Allegro - Alla Breve
Pulcinella: Tarantella
Pulcinella: Andantino 'Se Tu M'Ami' - Marilyn Tyler
Pulcinella: Allegro
Pulcinella: Allegro
Pulcinella: Gavotta Con Due Vars
Pulcinella: Tempo Di Minuetto 'Pupilette, Fiammette D'Amore' - Marilyn Tyler/Carlo Franzini/Boris Carmeli
Pulcinella: Allegro Assai
Apollo: Prologue: Naissance D'Apollon
Apollo: Var D'Apollon: Apollon Et Les Muses
Apollo: Pas D'Action
Apollo: Var De Calliope
Apollo: Var De Polymnie
Apollo: Var De Terpsichore
Apollo: Var D'Apollon
Apollo: Pas De Deux
Apollo: Coda: Apollon Et Les Muses
Apollo: Apotheose

Tracks:

The Fairy's Kiss: Scene 1: Prologue
The Fairy's Kiss: Scene 2: A Village Fete
The Fairy's Kiss: Scene 3: By The Mill
The Fairy's Kiss: Scene 4. Epilogue: Lullaby Of The Land Beyond Time And Place
Renard (A Burlesque Story To Be Sung And Played) - Gerald English/John Mitchinson/Peter Glossop/Joseph Rouleau/John Leach

Tracks:

The Soldier's Tale: Marche Du Soldat - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
The Soldier's Tale: Musique Pour Scene 1 - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
The Soldier's Tale: Musique Pour Scene 2 - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
The Soldier's Tale: Marche Royale - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
The Soldier's Tale: Petit Conc - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
The Soldier's Tale: Tango - Waltz - Ragtime - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
The Soldier's Tale: Danse Du Diable - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
The Soldier's Tale: Chorale - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
The Soldier's Tale: Marche Triomphale Du Diable - Michael Schwalbe/Hans Fryba/Leon Hoogstoal/Henri Helaerts/Paolo Longinotti/Pierre Aubapan...
Pulcinella: Sinf
Pulcinella: Serenata
Pulcinella: Scherzino
Pulcinella: Allegro
Pulcinella: Andantino
Pulcinella: Tarantella
Pulcinella: Toccata
Pulcinella: Gavotta Con Due Vars
Pulcinella: Vivo
Pulcinella: Minuetto
Pulcinella: Finale

Tracks:

Sym in C: I. Moderato Alla Breve
Sym in C: II. Larghetto Conc
Sym in C: III. Allegretto
Sym in C: IV: Largo - Tempo Giusto Alla Breve
Sym in Three Movts: I. 1/2nt = 160
Sym in Three Movts: II. Andante
Sym in Three Movts: III. Con Moto
Syms Of Wind Instruments

Tracks:

Con: Largo - Allegro - Nikita Magaloff
Con: Largo - Nikita Magaloff
Con: Allegro - Nikita Magaloff
Capriccio: Presto - Nikita Magaloff
Capriccio: Andante Rapsodico - Nikita Magaloff
Capriccio: Allegro Capriccioso Ma Tempo Giusto - Nikita Magaloff
Ste No.1: Andante
Ste No.1: Napolitana - L'Orch De La Suisse Romande/Ernest Ansermet L
Ste No.1: Espanola
Ste No.1: Balalaika
Ste No.2: Marche
Ste No.2: Valse
Ste No.2: Polka
Ste No.2: Galop
4 Etudes: Danse
4 Etudes: Excentrique
4 Etudes: Cantique
4 Etudes: Madrid
Scherzo A La Russe

Tracks:

Sym Of Psalms: I. Psaume XXXIX - Choeur De Radio Lausanne/Andre Charlet
Sym Of Psalms: II. Psaume XL - Choeur De Radio Lausanne/Andre Charlet
Sym Of Psalms: III. Psaume CL - Choeur De Radio Lausanne/Andre Charlet
The Wedding: Tableau 1: At The Bride's - Basia Retchitzka/Lucienne Devallier/Hugues Cuenod/Heinz Rehfuss/Vladimir Diakoff/Motet De Geneve...
The Wedding: Tableau 2: At The Bridegroom's - Basia Retchitzka/Lucienne Devallier/Hugues Cuenod/Heinz Rehfuss/Vladimir Diakoff/Motet De Geneve...
The Wedding: Tableau 3: The Bride's Departure - Basia Retchitzka/Lucienne Devallier/Hugues Cuenod/Heinz Rehfuss/Vladimir Diakoff/Motet De Geneve...
The Wedding: Tableau 4: The Wedding Feast - Basia Retchitzka/Lucienne Devallier/Hugues Cuenod/Heinz Rehfuss/Vladimir Diakoff/Motet De Geneve...
Mavra: Ov
Mavra: Air - Joan Carlyle
Mavra: Gypsy Song - Kenneth Macdonald/Joan Carlyle
Mavra: Dialogue - Helen Watts/Joan Carlyle
Mavra: Air - Helen Watts
Mavra: Dialogue - Helen Watts/Monica Sinclair
Mavra: Duet - Helen Watts/Monica Sinclair
Mavra: Dialogue - Helen Watts/Monica Sinclair/Joan Carlyle/Kenneth Macdonald
Mavra: Qt - Helen Watts/Monica Sinclair/Joan Carlyle/Kenneth Macdonald
Mavra: Dialogue - Helen Watts/Monica Sinclair
Mavra: Duet - Joan Carlyle/Kenneth Macdonald
Mavra: Dialogue - Kenneth Macdonald/Joan Carlyle/Helen Watts
Mavra: Air - Kenneth Macdonald
Mavra: Coda - Kenneth Macdonald/Joan Carlyle/Helen Watts/Monica Sinclair

Customer Reviews:

Hours and hours of fun!.......2007-01-24

Renard alone makes this set worthwhile. No other recorded performance (including Stravinsky's own) brings out the humor and basic "enjoyability" of this piece.

Prodigious performances!.......2006-10-17

Ernest Ansermet' s refined style was always supported by an admirable incisiveness around all what he conducted. And his Stravinsky still stands as one of the most perfect, idiomatic and extraordinary readings ever made; hovered with that deep vision and knower of the Stravinsky' s aesthetic; Ansermet always to blend power, febrile imagination and musculature, among his best achievements I should remark his Fairy' s kiss, The game of cards, Petrouchka, and the thundering Le Sacre are played with the right balance between abstraction and finesse; expression and sumptuous lyricism.

So you should not hesitate just for a second at the moment to decide to go for this special compilation.

Absolutely recommended.

Ansermet & Stravinsky - A Perfect Pair.......2003-05-19

This 8 CD collection of Stravinsky's Ballets, Stage Works and Orchestral Works is nothing short of magical. Conducted in its entirety by Ernest Ansermet leading the orchestra he founded, L'Orchestre de la Suisse Romande, this box set, while not complete, features all the great Stravinsky compositions -- "Firebird," "Rite of Spring," "Petrouchka," "Pulcinella," and all the Symphonies among others. Unlike most of history's great composers, Stravinsky himself was able to conduct and record his own music in stereo, so why not just get those discs? Well you should, but the Ansermet recordings generally offer superior sound and clarity. In fact, Ansermet was Stravinsky's personal choice to conduct the world premieres of many of his recordings, and Ansermet was selected by the composer to introduce the three famous ballets to U.S. audiences. A mathematician prior to his life as a conductor, Ansermet had his critics as he was virtually self-taught, though he did study music as a youth. But that mathematics background served him well in the studio as his early stereo recordings of everything from Tchaikovsky and Prokofiev to Falla and Chausson are engineered to perfection, and often sound better than the recordings by so-called more famous conductors. But don't take my word for it, buy some Ansermet for yourself and see. If you are not prepared to get this Stravinsky Box right away, then ease in with the new Ernest Ansermet "Great Conductors of the Century" compilation (see my review). You won't be disappointed.

Rock Music:

Rock Music