Pound for Pound

Tracks:

Allegro Giusto
Largo
Allegro
Packington's Pound
Greensleeves
Fantasia 'A Fancy'
Canarios
Sonata In D
Leyenda (Asturias)
The Three Cornered Hat: The Millar's Dance
Recuerdos De La Alhambra
Choros No.1
Andantino Espressivo
Poco Animato
En Los Trigales
Allegro Con Spirito
Adagio
Allegro Con Brio

Tracks:

Mallorca, Op. 202 - Albeniz
Cataluna
Granada
Sevilla
Cadiz
Cordoba
Dedicatoria
La Maja De Goya
Danza Espanola No. 4
Valses Poeticos - Granados
Danza Espanola No. 5 - Granados
Fandango
Passacaglia
Zapateado

Customer Reviews:

Like a rainy day in a good bookstore.......2007-07-10

"Always pleasant, never a false cord." That's what I think each time I listen to this collection. I guess I should be listening more closely, but I find the music and the virtuosity with which it is played to be a springboard to other thoughts and activities. I can read with it in the background, write with it or simply drift into thought. And that is really quite enough for me.

Not "Ultimate", but Wonderful!.......2007-03-29

As good a guitarist as Julian Bream is, one must begin by acknowledging that the title of this 2-CD set containing 32 admittedly seminal pieces written for hand-played strings ( primarily, the lute) is a tad hyperbolistic. An "Ultimate" collection of anything would have to be more complete, by definition, than any two CDs can be and, again, it almost goes without saying that no two people are apt to be in total agreement about what should or should not have been included in any such collection. All caveats considered and aside, this is, indeed, a thoughtfully selected and masterfully performed collection of what is, unarguably, some of the very best classical pieces ever written for the lute. Bream plays some of them on the guitar and others on a renaissance lute - the latter giving a somewhat truer indication of the stylings and musical nuances intended by the various composers. But, even the pieces he plays on the guitar - an instrument that, in it's current form, did not exist when many of the pieces were originally composed - are sensitive and lyrical interpretations that sound as if they MIGHT have been composed for the guitar.

Without spending space here reiterating the specific pieces, their titles and lengths, I will simply list the composers whose works Bream presents so nicely in this collection. They span a range of about five centuries beginning in the time of England's Elizabeth I and spanning the years through to the 20th Century's premier Spanish and Brazilian classical guitar composers. The list reads like a `Whose Who" of classical plucked-string instrument music and of composers whose keyboard compositions work particularly well on the strings of a lute or guitar, and includes;
- John Dowland
- Francis Cutting
- Antonio Vivaldi
- Gaspar Sanz (*)
- Mateo Albeniz (*)
- Manuel de Falla
- Enrique Granados (*)
- Hector Villa-Lobos, and
- Joaquin Rodrigo
(*) = Pieces originally written for keyboard play.

Every classical guitarist has his own recognizable style and approach to the instrument and the material. An experience listener would not confuse Bream's work with that of Andres Segovia, for example: but it is not that one is better than the other. Each, in his own distinctive way, is simply superb. Though the Spanish influence is clearly audible with both musicians, Bream's stylings have a more contemporary lilt and inflection than do those of Segovia; he makes each piece his own. One suspects that each time he plays a piece it comes out differently according to the moment, his mood, the instrument and God knows what else. Segovia, on the other hand, was well known for his constancy once he had found a version of each piece that fully suited his own ear and temperament.
While I am admittedly a Segovia fan, I find Bream's renditions to be noticeably fresher and each infused with an aura of presence in the here-and-now which I find especially enjoyable.

The collection is neither complete not `ultimate', but it is VERY good and well worth having in any collection of classical guitar music. In fact, for audiophiles not familiar with this genre, it is a fair place to begin to develop an ear for and a listener's knowledge of and experience with the classical guitar.

I recommend it highly.

Everyone would love this album!.......2007-01-16

This album is fantastic. Easy to listen to and wonderful background music for working or dinner parties

Incredible.......2005-10-24

This is the leading guitar player of his generation at his best.

He is especially amazing in the second CD, with some of the solo guitar transcriptions of Albeniz. His rendition of Rodrigo's three pieces is also sublime.

I can't imagine anybody buying this cd then regretting it.

One well worth the price of two.......2004-09-25

This two cd set is an odd juxtaposition. The first cd consists of a sampler of Bream's career output - but without (and I believe the omission is disgraceful) any acknowledgement of Bream's significant contribution toward the creation of a truly 20th century concert repertoire for guitar. The second cd is a re-release of his superb early 1980's recording of Albeniz and Granados transcriptions with the added bonus of a sublime interpretation of the "Three Spanish Pieces" by J Rodrigo.

Speaking as a musician I find the selections and the production of the first cd problematic. We get a few of the more lightweight examples of renaissance lute and baroque guitar (but no JS Bach and no (solo) baroque lute work); we get no vihuela repertoire and nothing truly representative of classical period composition. We do have all six movements from two contrasting concertos but the remainder of the cd consists mostly of neo-romantic repertoire from the twentieth century. Worse still, the recording quality is highly variable; for example one of the Villa Lobos pieces sounds as though it was recorded in an indoor swimming complex. Given the cd's title more care should have been taken to better represent Bream's career and musical diversity. In the opinion of one familiar with Bream's output this is a disappointing selection. Well played but not representative of the artist nor the art form.

However the opposite is the case with the second cd. These recordings were made at a time when Bream set out to commit to (then) vinyl, via the guitar, the musical heritage of Spain. Bream here was at the height of his interpretive power - and a fine film documentary also resulted from this endeavour.

The inclusion of the Rodrigo set makes this cd a better buy than the original Albeniz and Granados recording, although those who find this compilation rewarding might perhaps profit from researching Bream's catalogue, and adding the complete recording from which the Rodrigo is sourced (circa 1980-90) to their collection.

As for the Albeniz and Granados Bream offers his own transcriptions. These tread a fine line between fidelity to the piano scores and Bream's concept of what works on the guitar. As a general observation Bream seeks to include significantly more of the original score's textures than do many of his peers (e.g. J Williams, P Romero). At the same time he is not averse to significantly modifying the original (e.g. amongst others 'Granada' and 'Cordoba'). Such a process is part of any transcription but here the results are not only excellent but also personal to Bream, as a result we have further confirmation of the craft of a great performing artist.

Every listener will discover their own favourites and I have more than space allows me to relate. I believe that Bream brings more expression to his performances of the Valses Poeticos by Granados than any other guitarist I have heard, and the Passacaglia by Rodrigo is played with such a sense of a brooding menace that my spine tingles every time I listen to it.

The second cd alone is worth twice the compilation's asking price.

Average customer rating:

Dedicated to experts?
Zappa Attempts Stockhausen
The Yello Shark, performed by the Modern Music Ensemble
ZAP!
A Frank Zappa Treasure. Better than many of his CDs

The Yellow Shark

Manufacturer: Zappa Records
ProductGroup: Music
Binding: Audio CD

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Jazz From Hell
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The Perfect Stranger

ASIN: B0000009VU
Release Date: 1995-05-30

Tracks:

Intro
Dog Breath Variations
Uncle Meat
Outrage At Valdez
Times Beach II
III Revised
The Girl In The Magnesium Dress
Be-Bop Tango
Ruth Is Sleeping
None Of The Above
Pentagon Afternoon
Questi Cazzi Di Piccione
Times Beach III
Food Gathering In Post-Industrial America, 1992
Welcome To The United States
Pound For A Brown
Exercise #4
Get Whitey
G-Spot Tornado

Amazon.com

Released shortly after his death in 1993, The Yellow Shark represents one of the only accurate performances of Frank Zappa's "serious" orchestral music--at least as far as the composer was concerned. Assembled from a series of sold-out performances in Germany by the Ensemble Moderne, the set includes re-workings of old favorites like "The Dog Breath Variations" and "Uncle Meat," live arrangements of some of his hairiest computer music like "The Girl in the Magnesium Dress" and "G-Spot Tornado" and new works by Zappa composed specifically for the event. The performances are astonishing and the music? Pure Zappa. --Andrew Boscardin

Album Description

The 26-member Ensemble Modern performs FZ's 'most-humanly-impossible-to-play' compositions. Piano duets, string quintets & small ballets. Simply exquisite, with a 60-page booklet to explain it all. Originally released in 1993, it stayed on the classical chart for most of `94. Includes the tracks 'Outrage At Valdez,' 'None Of The Above,' & 'Welcome To The United States', plus arrangements of some of the most fiendishly difficult pieces from FZ's back catalogue & even a 'greatest hit' or two (some would pick this as the definitive version of 'Dog Breath Variations'). Sadly, this was the last album released by FZ during his lifetime. The didipak and the booklet are housed in a slipcase. Rykodisc.

Customer Reviews:

Dedicated to experts?.......2007-06-25

Frank Zappa was very proud of this great and difficult work done at the end of his (too short) life.
It requires also great concentation and a capability that probably I don't have to well understand this kind of experimental classic music.
It goes beyond the experimental rock that is typical of many of his works, leading him to the level of great contemporary experimental classic composers.
Given such a level of difficulty I don't know how much I can suggest to buy it. You just should try to hear at this music and decide if it does fit with your soul (how could I believe just a few years ago that today I would like so much 'Your funeral my trial' of Nick Cave?)

Zappa Attempts Stockhausen.......2007-02-13

FZ goes to Germany to upstage Karlheinz and tries an avant garde stage performance which is an elegant and popular form of expression in Germany. The Germans have perfected this type of marriage between romanticism and neoclassicism. In this case it's an overly technical performance, a display. The orchestra all sound good yet Zappa has given the music to another conductor, Peter Rundel. There is no rhythm section and without a background the result is too intellectual.

The Yello Shark, performed by the Modern Music Ensemble.......2007-01-19

This CD addresses the more serious, compositional aspect of Frank Zappa's career, and it could not be addressed in a more suitable manner. It includes some of FZ's more difficult works, such as "Bee Bop Tango", "Uncle Meat", and "G-Spot Tornado". The conductor is Peter Rundel, and as Zappa says himself, he is a fine conductor. This is highly recommended for anyone who has already developed a taste for Zappa's complex and imaginative arrangements.

ZAP!.......2006-01-20

Trying to define this album to my good friend was hard. "Well it's Zappa's songs done with an orechestra, but's not really classical sounding . . . it's just Zappa." And my friend just simply nodded and said "Sounds awesome." and i realized that if any reviewer would've just said 'It's Zappa!' it wouldn't take much more to sway me. so - It's Zappa! And it's damn near perfect it's so good! Riveting!!!

Be warned! You may like nobody (musically or real life) or anything (musically or real life) ever again after listening to this album, but it's not that big of a deal!

A Frank Zappa Treasure. Better than many of his CDs.......2005-07-29

`The Yellow Shark', with words and music by Frank Zappa is a collection of `chamber music' pieces recorded in 1993 in Germany, performed by a German orchestra, `Ensemble Modern', which, I believe, commissioned Herr Zappa to assemble these pieces for their concerts. In the accompanying booklet, Frank is pictured with a baton in hand, but the credits only have him conducting three pieces, those with a very significant spoken word aspect (all spoken in English). He also makes a brief appearance at the beginning of the CD where he introduces the Ensemble Modern conductor, Peter Rundel.

This recording is probably one of the very last to be done by Zappa himself, before his unexpected death due to illness. Of all the musical figures of the 1960s lost to us over the years, I miss Zappa almost as much as I miss John Lennon, and I am very happy that if we had to lose them, it was not to drugs or any other kind of self abuse.

There are fourteen musical pieces and three `spoken word' pieces on the recording. I confess that the spoken word pieces may actually be a bit dated, especially the `Welcome to the United States' track on a questionnaire for immigrants which makes a reference to terrorism which may seem entirely too glib in our current environment.

Two of the earliest tracks `Dog Breath Variations' and `Uncle Meat' are instantly recognizable from their music and titles as `quotes' from earlier albums, with very little `classical' varnish over their strongly jazzy sound. Most of the other musical pieces have more subtle quotes from earlier Zappa works, and demonstrate influences from George Gershwin, Kurt Weill, the movie music from `Spartacus', and his old mentor, Edgar Varese.

I noticed that the applause on these tracks was louder than the music and I was wondering whether the audience was appreciating the music itself or the presence of that formidable 1960's icon, Frank Zappa. I'm sure it was a little bit of both, but Zappa and audience couldn't resist quoting from one of his best albums, `The Mothers Fillmore East - June 1971'.

I think this quote was entirely appropriate, in that we owe so much musical innovation to the popular musical performers who were nutured by 1960's, producing such wonders as Zappa and the great bands such as The Rolling Stones and The Who, who are still scoring our artistic perceptions on both commercials and dramatic themes on TV.

This may not be Zappa's greatest album, but it is one of his cleanest. Like `Hot Rats', there is very little `throw away' material. And, it is one of the very few pop or classical recordings by a major musical figure where you will hear the performance of a didgeridoo (Australian aborigonal flute).

Highly recommended for Zappa fans and fans of 1960s music in general.

Average customer rating:

You don't need a Wayback machine
A Very Good Compilation of Elizabethan Music
Light classics with historical charm

Elizabeth's Music

Manufacturer: Dorian Recordings
ProductGroup: Music
Binding: Audio CD

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On the Banks of Helicon: Early Music of Scotland

ASIN: B00000IGPC
Release Date: 1999-03-23

Tracks:

Jane Pickering Lute Book: The Queen's Treble
Consort Lessons: O Mistris Mine (Twelfth Night)
Consort Lessons: My Lord Oxenfords Maske
Robin Is To The Greenwood Gone
Why Ask You
Paduana - Lachrymae
The Fifth Galliard (My Lady Nevell's Book)
Shall I Come Sweet Love To Thee?
In Darkness Let Me Dwell
Packington's Pound
Never Weather-Beaten Sail
It Was A Lover And His Lass
Howells Delight
Green Garters
There Were Three Ravens
(Ballet Lute Book c.1590): Greensleeves
(Thysius Lute Book c.1600): Greensleeves
Greensleeves
See, See The Shepherd's Queen
Willy Prithee Go To Bed
Now Is The Month Of Maying
Weep You No More, Sad Fountains
Beauty, Since You So Much Desire
Fine Knacks For Ladies
Captain Digorie Piper's Galliard
My Lord Willoughby's Welcome Home
Melancholy Galliard
My Lady Hunsdon's Puffe
Fortune My Foe
Queen Elizabeth's Galliard
Mrs. Winter's Jump

Customer Reviews:

You don't need a Wayback machine.......2001-12-05

Just get a CD like this one to get a broad brush review of the popular hits of the late 1500s. While I would have liked a few more recorder pieces, almost every cut was interesting in its own way. If you want just one early music CD with English songs, this is probably the one to get.

A Very Good Compilation of Elizabethan Music.......2001-09-27

"Elizabeth's Music" is a great cd to listen to if you are an enthusiast of ballads, the lute or old fashioned jigs. This cd really puts you in the alehouses, courts and courtyards of the Elizebethan age. The music is preformed well and the voices are very authentic and beautiful. The CD loses one star because most of the songs are on other Dorian-released CDs! I got the cd and found out most of the songs were the exact same ones on my "Shakespeare's Music" CD and other Dorian CDs. Ah well. All Elizabethan enthusiasts will enjoy this eclectic collection.

Light classics with historical charm.......2000-01-07

Really enjoyed this CD. Light and pleasant, without being too pretentious. Great background music for home or office.

The King's Noyse, dir. David Douglass: Royal Delight: 17th Century Ballads & Dances

Average customer rating:

The King's Noyse, dir. David Douglass: Royal Delight: 17th Century Ballads & Dances

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

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ASIN: B00099FVD8
Release Date: 2005-09-13

Tracks:

The King's Delight
All In A Garden Green
Gathering Peascods
Blew-Cap For Me
Fortune My Foe
Browning
Jog On
Courante - Packington's Pound
Daphne
Huntsuppe
The Lovely Northerne Lasse
Tantz
O Nachbar Roland
Dulcina
As Att Noone Dulcina Rested
Grimstock
Robin Is To The Greenwood Gone
Ricercar - Bonny Sweet Robin
A Light Hearts A Jewell
Child Grove
Easter Thursday
The Beggar Boy
Mr. Isacc's Maggot
The Little Barley-Corne

Tracks:

The Happy Meeting
Boatman
Trip And Go
Barbara Allen's Cruelty
Preludium
Browning My Dear
Hollis Berrie
New Castle
Newmarket
Now, O Now, I Need Must Part
Coockow As I Me Walked
Sing Care Away
Souches Marche
Emperor Of The Moon
Tickle My Toe
I Smell A Rat
Wilson's Wilde
Walsingham
Begone, Sweit Night
Strawberries And Cream
The Queen's Delight
Half Hanniken
Nottingham Ale

Michael Praetorius: Dances from Terpsichore (1612)

Average customer rating:

Fabulous performances, but this is NOT just violin music!!
Praetorius without his crumhorn

Michael Praetorius: Dances from Terpsichore (1612)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Praetorius: Dances from Terpsichore
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English Renaissance Music

ASIN: B00005LDAW
Release Date: 2001-07-10

Customer Reviews:

Fabulous performances, but this is NOT just violin music!!.......2005-06-02

Praetorius's famous collection of dances entitled 'Terpsichore' (1612) surely needs no introduction - indeed recordings of it are available in abundance. What undoubtedly sets this one apart from previous readings is that this is the first to use predominantly stringed instruments - violin band, violin consort, lutes (only track 23 departs from this norm, where bagpipes and pipe & tabor are added to the violin band to bring out the rustic element of the title - 'Bransle de villages'). This excellent recording can be recommended without hesitation. The playing is generally superb, and includes some of the best available performances of some of the more famous dances (e.g. tracks 13 and 31). The lute intabulation arrangements also work well (most obviously in track 32) creating a distinctly French sound-world rarely exploited on previous 'Terpsichore' renditions. Praetorius's dances are complemented with some attractive contemporary lute works by Nicolas Vallet and Jean-Baptiste Besard, amongst which listeners will probably recognize the 'Bransles de villages' (track 22) from Respighi's 'Ancient Airs and Dances' suite.

However, is it fair to argue (as Holman does, liner notes p.7) that 'the collection was primarily intended for violins'...? Evidence to support this hypothesis comes primarily from Praetorius's preface, which indicates that the dances were composed by French dancers known chiefly as good violinists or lutenists (in particular Pierre Francisque Caroubel, who contributed many of the dances and had recently spent some time at the Wolfenbuttel court, where Terpsichore was published). Yet Praetorius's preface also refers to 'bowed and wind instruments' when describing 'loud and soft' repetitions within a dance, and also explicitly notes the suitability of adapting the dances for domestic ensemble ('...oder fur furstliche Tafeln / oder nur "in convivius" enzig zum Vergnugen...'). Given that Praetorius was in fact German (NOT French!) and that Terpsichore was published in Germany rather than for a French market in France, it is impossible to isolate his comments on this topic from similar collections published in Germany which testify to the continued popularity of the viol consort there. William Brade's collections of near identical music (of Paduanas, Galliards, Ballets,...etc) from Hamburg, 1614 and 1617, for example, indicate that they can be 'pleasingly executed on all kinds of instruments' and 'particularly on viols' ('...auf allen musicalischen Instrumenten und insonderheit auff Fiolen lieblich zu gebrauchen...').

In addition, it is equally illogical to suggest that the 'Passameze pour les cornetz' [CCLXXXVIII a 6, F.C.] - the only dance in Terpsichore with a specified instrumentation - represents the exception rather than the rule, i.e. only one dance out of 312 not intended for violin band/consort. Both contemporary accounts and other French music collections of the period confirm that the repertory of the French violinists was not as separate as Holman implies (liner notes p.7). The 'Recueil de plusieurs airs par Andre Danican Philidor' [B.N. de France, Res. F. 494] - again of music near identical to Terpsichore in style/form - includes numerous contemporaneous pieces which are given the addendum 'joue par les Grands hautbois' or 'fait pour les Cornetz [1601]' alongside (for example) a suite of music for a 'Concert donne a Louis 13 en 1627 par les vin[g]t quatres viollons et les 12 Grand Hautbois.' Let us not forget that the 'Passameze pour les cornetz' in Terpsichore was in fact written by one of the French violinists (Caroubel)!!!!!!!!

In short, this CD presents one very plausible way in which these dances from Terpsichore were played, and the performances can definitely be recommended - just so long as the justification behind excluding any other instruments (viols or wind instruments) is accepted with a degree of caution!

Praetorius without his crumhorn.......2003-06-14

If you've been put off Praetorius in the past by the liberal use of flatulent period wind instruments and harsh percussion, you might try this fine recording. Strings, bowed and plucked, take the spotlight here and the result is very pleasing. Hyperion can always be relied upon to provide nice sonics and the performers are in excellent form. Some might prefer more demonstrative playing, but the slightly laid-back approach here is highly enjoyable and sounds totally valid.

Average customer rating:

Authentic music of the period
To sum it up: YUCK

How the World Wags

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000JLKP
Release Date: 1999-07-13

Customer Reviews:

Authentic music of the period.......2003-05-19

I've listened to this cd many times. I am still not tired of it. Yes, in a sense the music is coarse, but that's the kind of music it is - lusty, bawdy, and expressive of an era of high spirits. And that's the way these songs are sung. These are essentially 17th century tavern songs and are sung by people who obviously know what they're singing. These songs should be enjoyed with a flask of beer or a jug of wine.

To sum it up: YUCK.......2000-07-03

Who could complain about the fabulous tunes published by Playford... wonderful melodies and truly timeless. Unfortunately, here they are performed in a coarse and unmusical way. This "City Waites" ensemble is NOT the same one that recorded the wonderful "Pills to purge melancholy" of Thomas D'Urfey. The singing here is harsh and badly out of tune. There is scant use of instruments to make up for it or cover it up. Of my set of uncounted CDs, this is one of about 3 that I have listened to only a few times- I literally can't sit through it.

Average customer rating:

Interesting French Horn Music

British Light Music

Manufacturer: Marco Polo
ProductGroup: Music
Binding: Audio CD

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Roy Goodwin: 633 Squadron; Drake 400 Suite; Arabian Celebration; New Zealand Suite
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ASIN: B000004602
Release Date: 1994-08-09

Tracks:

Comedy Overture
First Suite of English Folk-Dances: Jenny Pluck Pears
First Suite of English Folk-Dances: Ten Pound Lass
First Suite of English Folk-Dances: Dick's Maggot
First Suite of English Folk-Dances: Nonesuch
First Suite of English Folk-Dances: Hunt the Squirrel
First Suite of English Folk-Dances: Woodicock
Light Music Suite: Pizzicato Humoresque
Light Music Suite: Serenade To A Wayward Miss
Light Music Suite: Waltz For A Princess
Light Music Suite: Sahenandoah
Light Music Suite: Cumberland Square
Richard watkins: Rhapsody And Rondo For Horn And Orchestra
Passepied
Rigadoon
Dances From Aladdin: Birdcage Dance
Dances From Aladdin: Cushion Dance
Dances From Aladdin: Belly Dance
A Georgian Miniature

Customer Reviews:

Interesting French Horn Music.......1999-12-17

Fans and performers of French horn music will enjoy the Rhapsody and Rondo for Horn and Orchestra. This is a show piece, exhibiting all the techniques and acrobatics that a horn can do. But it is also pleasant, exuberant music to listen to, and is well performed here. It was written originally for Dennis Brain, and Marco Polo deserves the thanks of the French horn community for preserving this work. You won't find any other recordings of this horn piece, and this one is well worth owning.

Popular Tunes in 17th Century England /Broadside Band * Barlow

Average customer rating:

Very enjoyable!

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The Beggar's Opera: Original Songs & Airs

ASIN: B000027O8J
Release Date: 1993-11-11

Tracks:

London Tunes: Hyde Park
London Tunes: Maiden Lane
London Tunes: St. Paul's Wharf
London Tunes: Tower Hill
London Tunes: Gray's Inn
Country Dances: Cuckolds All In A Row
Country Dances: Merry Milkmaids We
Country Dances: Woodicok
Country Dances: Newcastle
Four Ballads Mentioned By Shakespeare: Callino Casturame
Four Ballads Mentioned By Shakespeare: Come Live With Me And Be My Love
Four Ballads Mentioned By Shakespeare: Light O'Love
Four Ballads Mentioned By Shakespeare: Jog On
The 17th Century Top Three: 3 Greensleeves
The 17th Century Top Three: 2 Fortune My Foe
The 17th Century Top Three: 1 Packington's Pound
Across The Channel (Imported And Exported Tunes): Chi Passa
Across The Channel (Imported And Exported Tunes): All In A Garden Green
Across The Channel (Imported And Exported Tunes): La Folia
Across The Channel (Imported And Exported Tunes): Quatre Branles
Across The Border: The Clean Contrary Way
Across The Border: Gilderoy
Across The Border: Gilliecrankie
Across The Border: The Miller Of The Dee
John Playford's English Dancing Master: The New Exchange: Go From My Window
John Playford's English Dancing Master: The New Exchange: The New Exchange
John Playford's English Dancing Master: Kettle Drum: Kettle Drum
John Playford's English Dancing Master: Kettle Drum: Kettle Drum
John Playford's English Dancing Master: Kettle Drum: Tpt Tune
John Playford's English Dancing Master: Kettle Drum: The Indian Queen Or The New Bourree
John Playford's English Dancing Master: A Health To Betty: A Health To Betty
John Playford's English Dancing Master: A Health To Betty: My Mother's Ay Glow'ring O'Er Me
John Playford's English Dancing Master: The Fine Companion: The Fine Companion
John Playford's English Dancing Master: The Fine Companion: The Merry Companion
John Playford's English Dancing Master: The Fine Companion: The Boon Companion
John Playford's English Dancing Master: The Healths: The Healths
John Playford's English Dancing Master: The Healths: The Healths
John Playford's English Dancing Master: The Healths: La Bourree
John Playford's English Dancing Master: The Healths: The Glory Of The West
John Playford's English Dancing Master: The Healths: St. Paul's Steeple
John Playford's English Dancing Master: The Healths: Jack Pudding
John Playford's English Dancing Master: The Healths: Parson's Farewell

Customer Reviews:

Very enjoyable!.......2002-11-05

The tunes in John Playford's The English Dancing Master have been recorded frequently and are a staple in English country dance circles. Jeremy Barlow and the Broadside Band present here some of the best renditions of these tunes that are currently available on CD. I strongly recommmed this CD for anyone interested in Renaissance music, country dance music, or just plain ole' fun music.

Greensleeves: A Collection of English Lute Songs

Average customer rating:

Graceful music
Not what I wanted
Greensleeves (Baird/McFarlane)

Greensleeves: A Collection of English Lute Songs

Manufacturer: Dorian Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music

The English Lute Song
The Art of the Bawdy Song
English Mad Songs and Ayres
Watkins Ale: Music of the English Renaissance
The Mad Buckgoat - Ancient Music of Ireland

ASIN: B000001Q89
Release Date: 1993-08-31

Tracks:

It Was A Lover And His Lass
Author Of Light
Lute Solo: Watkin's Ale
So Beauty On The Waters Stood
When Laura Smiles
Lute Solo: Galliard
In Darkness Let Me Dwell
Lute Solo: Bonny Sweet Boy
Greensleeves
Wand' ring In This Place
Lute Solo: Packington's Pound
Shall I Come Sweet Love To Thee?
Sorrow Stay
Sweet Youth Go Bruise Thy Pillow
Lute Solo: Kemp's Jig
It Fell On A Summer's Day
Come Again
Lute Solo: Wilson's Wild
Awau With These Self Loving Lads
Mark How The Blushful Morn
Never Weather-Beaten Sail
Lute Solo: The Cradle Pavan
If Thou Longst So Much To Learn
Lute Solo: Robinson's May
TIme Stands Still

Customer Reviews:

Graceful music.......2005-09-27

The lute is a string instrument with a fretted neck and a deep, round back. In many ways, it is related to later similar instructments such as the guitar and banjo. It descends from a Middle Eastern instrument similar to the oud. The lute was one of the major musical instruments of the Middle Ages, and much music was composed for the lute, both as a stand-alone instrument as well as an accompaniment for singers.

This disc has some samples of both. Some songs are anonymous compositions, often derivative of much older folk tunes. Others are original compositions whose composers are known by name. Among these names are John Dowland, Thomas Morley, Alfonso Ferrabosco, Michael Cavendish, Thomas Campion, Nicholas Lanier, and Anthony Holborne, all of the 1500s/1600s. The music here involves both the 8-course lute and the 10-course lute (during the later Baroque time, lutes could have as many as 28 strings!).

The lute was eventually displaced by keyboard and other instruments, so in many ways its life is that of the music of the past. However, with recordings such as these, the lute lives again in vibrant form. Ronn McFarlane learned to play on a cheap steel-string guitar, but continued to study in a rather eclectic fashion, eventually studying at the Shenandoah Conservatory and the Peabody Conservatory prior to settling upon the lute as his primary instrument. In this recording, he is paired with Julianne Baird, a soprano with significant recording experience.

McFarlane and Baird emphasise the simplicity and lightness of the songs here; while some lute music and some folk tunes can be very elaborately arranged, here the performers strive for a more direct elegance. The particular period emphasised is Elizabethean; McFarlane and Baird sound as if they have come directly from the Queen's court directly.

This is a beautiful recording.

Not what I wanted.......2002-02-13

i should have read the description more clearly...this is partially vocal, not all instrumental. Nothimg wrong with the CD, but I only like instrumental.

Greensleeves (Baird/McFarlane).......2000-09-30

Incredible! Stunning musicianship from beginning to end. For fans of Dowland, this recording is a gem. The blend of lute and voice on 'In darkness let me dwell' is downright haunting. This recording is an absolute pleasure. 5 stars just might be an understatement here...

Average customer rating:

Delightful and exciting.

Renaissance Music for Guitar

Manufacturer: ADG
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Solo Instrumental | New Age | Styles | Music

Traditional Folk | Folk | Indie Music | Stores | Music

Renaissance Favorites for Guitar
Weiss: Sonatas for Lute, Volume 5
English Renaissance Music
Baroque Guitar

ASIN: B00000FDGH
Release Date: 1998-11-24

Tracks:

Dance of the Washerwoman - Hans Neusidler
I Lie Alone - Anonymous
Ballet - Michael Praetorius
Robinson's May - Thomas Robinson
Packington's Pound
Canaries I - Anonymous
Medieval Dance - Anonymous
Kemp's Jig - Anonymous
Kathrine Bardi - Anonymous
Greensleeves I - Anonymous
Greensleeves II - Anonymous
La Volta - Michael Praetorius
Duo - Miguel de Fuenllana
Courante - Michael Praetorius
Christ Has Risen - Hans Judenkunig
Bransle charlotte - Thomas Arbeau
Bransle - Anonymous
O Venus Bant - Alexander Agricola
,Daphne - Anonymous
Canaries II - Anonymous
Fayne Would I wed - Richard Farnaby
Haulberrys - Pierre Attaingnant
Fantasia - Anonymous
Mr. Dowland's Midnight - John Dowland
Alman - Robert Johnson -
Der Judentanz - Hans Judenkunig
Ronde I - Tielman Susato
Ronde II - Tielman Susato
Lute dance - Allan Alexander
Ricercare - Francesco da Milano
Merry Ronde - Allan Alexander
Fantasia - Alonso Mudarra
Two Bransle - Jean Baptiste Besard
Lady Gay's Alman - Allan Alexander (Performed on the Lute)
Finale - Albert Dlugoraj (Performed on the Lute)
Dance of the Washerwoman (Performed on the Lute - compare to cut 1 where it is performed on the guitar)
Ronde I - Tielman Susato (Performed on the Lute - compare to cut 27 where it is performed on the guitar)
Der Judentanz - Hans Judenkunig (Performed on the Lute - compare to cut 26 where it is performed on the guitar)