Now Is Then

Editorial Reviews
Album Description
Stunning new long-player from Essex hitmakers The Windmills contains eleven of the strongest songs the band has recorded to date. Following the critical success of their previous album "Sunlight" and inaugural live dates in the US, The Windmills spent the greater part of a year writing and recording the songs for this third album. Perfectly mixing new pop classics like "Summer Snow," "Beach Girls 1918" and "Something Spring" with mature, tragic songs "Your Fingers and Mine" and "Ever To Exist" and the extraordinary title track—a tightly strummed guitar pop masterpiece that recalls the best of The Wedding Present—The Windmills have hit on something truly magic. Glittering guitar pop with intelligent lyrics and wonderfully warm vocals that places them in the same league as the bands to which they are frequently compared: Go-Betweens, East Village, and The Smiths. If you were tuned into The Windmills from previous releases then you undoubtedly have this on your shopping list already, but if not, make this your first stop. "Now Is Then" is the band’s defining moment and the gauge against which all future releases will be judged.

Now Is Then, Music, Windmills, Britain, Britpop, Indie Pop
Mendelssohn: Elijah
Average customer rating: 4.5 out of 5 stars
  • Wonderful, but not my first choice
  • THE BEST recording of the BEST oratorio ever...
  • Too bad there are so few recordings of Elijah
Mendelssohn: Elijah

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Franz Joseph Haydn: The Creation
  2. Mendelssohn - Elijah / Terfel, Fleming, Bardon, Ainsley, Fulgoni, Paul Daniel
  3. Mahler: Das Lied von der Erde
  4. Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw
  5. Brahms: Ein deutsches Requiem [A German Requiem]

ASIN: B0002XV31A
Release Date: 2005-02-15

Tracks:

  1. Introduction: As God The Lord Of Israel Liveth
  2. Overture
  3. No.1 Help, Lord! Wilt Thou Quite Destroy Us?
  4. No.2: Lord! Bow Thine Ear To Our Prayer!
  5. No.3: Ye People, Rend Your Hearts
  6. No.4: If With All Your Hearts
  7. No.5: Yet Doth The Lord See It Not
  8. No.6: Elijah! Get Thee Hence
  9. No.7: For He Shall Give His Angels Charge Over Thee
  10. Recitative: Now Cherith's Brook Is Dried Up
  11. No.8: What Have I Do To Do With Thee?
  12. No.9: Blessed Are The Men Who Fear Him
  13. No.10: As God The Lord Of Sabaoth Liveth
  14. No.11: Baal, We Cry To Thee: Hear And Answer Us!
  15. No.12: Call Him Louder, For He Is A God!
  16. No.13: Call Him Louder! He Heareth Not!
  17. No.14: Lord God Of Abraham, Isaac And Israel!
  18. No.15: Cast Thy Burden Upon The Lord
  19. No.16: O Thou, Who Makest Thine Angels Spirits
  20. No.17: Is Not His Word Like A Fire?
  21. No.18: Woe Unto Them Who Forsake Him!
  22. No.19: O Man Of God, Help Thy People!
  23. No.20: Thanks Be To God!

Tracks:

  1. No.21: Hear Ye, Israel; Hear What The Lord Speaketh
  2. No.22: Be Not Afraid, Saith God The Lord
  3. No.23: The Lord Hath Exalted Thee
  4. No.24: Woe To Him, He Shall Perish
  5. No.25: Man Of God, Now Let My Words Be Precious
  6. No.26: It Is Enough; O Lord Now Take My Life
  7. No.27: See, Now He Sleepeth
  8. No.28: Lift Thine Eyes To The Mountains
  9. No.29: He, Watching Over Israel, Slumbers Not
  10. No.30: Arise, Elijah, For Thou Hast A Long Journey
  11. No.31: O Rest In The Lord
  12. No.32: He That Shall Endure To The End, Shall Be Saved
  13. No.33: Night Falleth Round Me, O Lord!
  14. No.34: Behold! God The Lord Passed By!
  15. No.35: Above Him Stood The Seraphim
  16. No.36: Go, Return Upon Thy Way
  17. No.37: For The Mountains Shall Depart
  18. No.38: Then Did Elijah The Prophet Break Forth
  19. No.39: Then Shall The Righteous Shine Forth
  20. No.40: Behold, God Hath Sent Elijah
  21. No.41: But The Lord, From The North Hath Raised One
  22. No.41a: O Come Everyone That Thirsteth
  23. No.42: And Then Shall Your Light Break Forth

Customer Reviews:

4 out of 5 stars Wonderful, but not my first choice.......2007-04-07

I believe this was the first recording of Elijah in English that used an "international" conductor and some international singers. Fruhbeck gives a good, dramatic sweep to the piece, with some wonderful dramatic moments. This is an old fashioned performance, with only a solo quartet, and if there is a semi-chorus, I can't tell the difference. This means that the soprano is the Widow, and an Angel, the mezzo the Angel and Queen Jezabel, etc. You really should have a libretto, but you don't get one at this price.
Fischer-Dieskau roughens up his voice for the role, and therein lies a problem. The voice spreads and his diction suffers because of it; that and his unidiomatic pronounciation, with far too many rolled "r"s. He does the drama well, but what works well in lieder works here less well on the large scale. Odd, given his success as on opera singer (check out his Iago), that here he frequently comes off blustery.
Dame Gwyneth Jones belies her reputation and gives a contolled, dramatic performance, using her "edge" to advantage in "Hear Ye, Israel". Gedda's diction is amazing, with exactly the right color for this literature, and projecting a little more blood than an English tenor.
Dame Janet Baker is my star in this performance. Dramatic, heart-rending when need be, and in wonderful voice. She'll chill your blood when she tells the people of Baal to "slaughter him, do what he hath done!".
And as for the people of Baal, the Philharmonia Chorus is wonderful. Incisive and dramatic, with beautiful tone. I could do without the trick of the boy choir for "Lift Thine Eyes", and I miss the small ensembles, but all in all a fine performance, and good recording, circa 1968.
First choice in English, Daniels/Terfel: better Elijah in Terfel, better recording, more authentic orchestra, small vocal ensembles (as per the score) but inferior women (including Fleming: beautiful tone, but where's her head?). In German, it's Sawallisch/Adam all the way.
But if you're singing Elijah, and have a score, this is a good choice.

5 out of 5 stars THE BEST recording of the BEST oratorio ever..........2006-08-15

Okay, I'm gonna admit I'm biased- I first sung in the chorus of Elijah when I was 14 and it made a BIG impression on me!
This recording is in every way wonderful. Starting with Dietrich Fischer-Dieskau. He IS Elijah to me. His singing is perfection. He has amazing phrasing and his diction makes it possible to understand the lovely, inspired libretto to this heavenly music. There are so many pieces that are ephemeral, but a couple of my favorites are: #14, Lord God of Abraham and #37, For the Mountains shall Depart. Dieskau does a great job of what I think of as compassionate, heartfelt singing. His interpretation sounds like the voice of God himself. It has a quality of kindness and yet he sounds just as convincing reprimanding the people of Baal. He is the true highlight of this recording.

That said, the rest of the cast is wonderful as well. Gwyneth Jones has a lovely, silvery voice that has a clarion bell-like tone that rings over the large orchestra with ease. She has occasional "misfire" but is a consistent performer. Dame Janet Baker and Nicolai Gedda both perform at a consistently lovely level. The orchestra and chorus are both wonderful. #15, Cast thy Burden upon the Lord, #32 He that Shall Endure to the End, and #38 Then Did Elijah are all highlights.

All said, for me the main reason to get this recording is Dieskau's Elijah- after all, he's the main character. But don't forget the lovely music. This story is exciting and passionate and sacred all at the same time. For me, it's the best oratorio that has a moving story and great music too.

4 out of 5 stars Too bad there are so few recordings of Elijah.......2006-07-03

This is a good recording of an oratorio that deserves more attention. The chorus and soloists are very good--I just wish Fischer-Diskau wouldn't slide around so much in singing the title part!
That Was Then, This Is Now
Average customer rating: 5 out of 5 stars
  • What an incredible discovery!
  • Peak performance
  • THAT WAS THEN THIS IS WOW!!!!!!!!!!!!!!
  • Great stuff
  • A fine example of musicality shining through virtuosity
That Was Then, This Is Now
Andy Timmons
Manufacturer: Favored Nations
ProductGroup: Music
Binding: Audio CD

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ASIN: B000063BW6
Release Date: 2002-05-07

Tracks:

  1. Super ' 70's
  2. Pink Champagne Sparkle
  3. Falling Down
  4. Beautiful Strange
  5. Turn Away
  6. I Remember Stevie
  7. Cry For You
  8. Farmer Sez
  9. Electric Gypsy
  10. It's Getting Better
  11. That Was Then, This Is Now
  12. Groove Or Die
  13. A Night To Remember
  14. Carpe Diem
  15. Donna Lee (Twist-Live)
  16. Slips Away

Album Description

Guitarist from Danger Danger, this is a collection of music he recorded for Ear X-tacy Records, plus 5 stunning 2002 tracks that showcase Andy's new vision, development, and songwriting maturity. 16 tracks includes the bonus 'Donna Lee' (Twist-live).

Customer Reviews:

5 out of 5 stars What an incredible discovery!.......2007-07-10

Where have I been? This CD has been out for 3 or 4 years, but I just recently discovered Andy. This disc is amazing, top to bottom. What a fantastic player and composer.

Get this one before Resolution. It's the better of the two, IMHO. "Super 70's" instantly made it to my 'Top 100 of all time' playlist on my iPod.

If you like guitar albums (Satriani, Vai, etc.), this is a no-brainer.

5 out of 5 stars Peak performance.......2007-03-09

What a tour de force, far better in every way than his most recent effort, which I already quit listening to except for the first two tracks. This one just delivers song after song, week after week, it's still in my tiny 6-CD rotation in the car, each song has depth, layers, virtuosity out the wazoo...just amazing. It's almost like he's playing with his heart, not just his head, not just showing chops and licks, but "making music", go figure. How rare is that?!

5 out of 5 stars THAT WAS THEN THIS IS WOW!!!!!!!!!!!!!!.......2007-03-06

I BOUGHT ANDY TIMMONS RESOLUTION CD A MONTH AGO,AFTER HEARING THAT I HAD TO ORDER THIS.WHAT A CD,THIS GUY IS A GUITAR LEGEND UP THERE WITH THE GREATS,VAI,SATCH,HALEN,MALMSTEEN,ECT.HIS PLAYING IS SO TONEFULL AND SO ROCKING HE HAS GOT TO BE ONE OF THE BEST ALL ROUND PLAYERS I HAVE HERD.
BUY THIS CD AND RESOLUTION AS FAST AS YOU CAN,YOU WILL ONLY BENEFIT FROM OWNING THEM.

4 out of 5 stars Great stuff.......2007-02-28

Andy is probably one of the most underrated guitar players out there, next to say Joe Bonamassa. If you ever get the chance to see either live, get up close. This Cd has some great licks, and as always showcases Andy's masterful use of tone, particularly with his Strat. I believe it's Marshall amps with Mesa Boogie cabinets for those curious. He plays all styles. Get each of his Cd's and you'll hear some great hidden gems.

5 out of 5 stars A fine example of musicality shining through virtuosity.......2006-02-07

An unfortunate consequence of playing fast licks and scales on the electric guitar is that emotion and feeling may be lost to mathematical pattern and technique. However, this does not have to be the case. You can play fast or slow with emotion, and how well you do it judges how good a guitarist you are (well, at least, to me).

Andy Timmons is an excellent example of a guitarist who can pull this off, and these songs demonstrate that pretty clearly.

That is pretty much all I have to say.
Dowland - The Collected Works / The Consort of Musicke, Rooley
Average customer rating: 5 out of 5 stars
  • A musical treasure-box
  • a beautiful journey into melancholy
Dowland - The Collected Works / The Consort of Musicke, Rooley
John Dowland , Anthony Rooley , Emma Kirkby , Christopher Wilson , The Consort of Musicke , Colin Tilney , Anthony Bailes , Jakob Lindberg , Nigel North , Glenda Simpson , Peter Holman , and John Donne
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Dowland: Complete Lute Works, Vol.1-5
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ASIN: B000004CYV
Release Date: 2007-03-13

Tracks:

  1. First Booke Of Songes: I. Unquiet Thoughts
  2. First Booke Of Songes: II. Who Ever Thinks Or Hopes Of Love
  3. First Booke Of Songes: III. My Thoughts Are Wing'd With Hopes
  4. First Booke Of Songes: IV. If My Complaints Could Passions Move
  5. First Booke Of Songes: V. Can She Excuse My Wrongs
  6. First Booke Of Songes: VI. Now, O Now, I Needs Must Part
  7. First Booke Of Songes: VII. Dear, If You Change
  8. First Booke Of Songes: VIII. Burst Fourth My Tears
  9. First Booke Of Songes: IX. Go Crystal Tears
  10. First Booke Of Songes: X. Think'st Thou Then By Thy Feigning
  11. First Booke Of Songes: XI. Come Away, Come Sweet Love
  12. First Booke Of Songes: XII. Rest Awhile, You Cruel Cares
  13. First Booke Of Songes: XIII. Sleep, Wayward Thoughts
  14. First Booke Of Songes: XIV. All Ye, Whom Love Or Fortune Hath Betray'd
  15. First Booke Of Songes: XV. Wilt Thou Unkind Thus Reave Me
  16. First Booke Of Songes: XVI. Would My Conceit
  17. First Booke Of Songes: XVII. Come Again: Sweet Love Doth Now Invite
  18. First Booke Of Songes: XVIII. His Golden Locks
  19. First Booke Of Songes: XIX. Awake, Sweet Love
  20. First Booke Of Songes: XX. Come, Heavy Sleep
  21. First Booke Of Songes: XXI. Away With These Self-Loving Lads

Tracks:

  1. Second Booke Of Songs: I. I Saw My Lady Weep
  2. Second Booke Of Songs: II. Flow My Tears
  3. Second Booke Of Songs: III. Sorrow, Stay
  4. Second Booke Of Songs: IV. Die Not Before Thy Day
  5. Second Booke Of Songs: V. Mourn, Mourn, Day Is With Darkness Fled
  6. Second Booke Of Songs: VI. Time's Eldest Son
  7. Second Booke Of Songs: VII. Then Sit Thee Down
  8. Second Booke Of Songs: VIII. When Others Sing Venite
  9. Second Booke Of Songs: IX. Praise Blindness Eyes
  10. Second Booke Of Songs: X. O Sweet Woods
  11. Second Booke Of Songs: XI. If Floods Of Tears
  12. Second Booke Of Songs: XII. Fine Knacks For Ladies
  13. Second Booke Of Songs: XIII. Now Cease My Wand'ring Eyes
  14. Second Booke Of Songs: XIV. Come Ye Heavy States Of Night
  15. Second Booke Of Songs: XV. White As Lilies Was Her Face
  16. Second Booke Of Songs: XVI. Woeful Heart
  17. Second Booke Of Songs: XVII. A Shepherd In A Shade
  18. Second Booke Of Songs: XVIII. Faction That Ever Dwells
  19. Second Booke Of Songs: XIX. Shall I Sue
  20. Second Booke Of Songs: XX. Toss Not My Soul
  21. Second Booke Of Songs: XXI. Clear Or Cloudy
  22. Second Booke Of Songs: XXII. Humour Say What Mak'st Thou Here

Tracks:

  1. Third Booke Of Songs 1603: I. Farewell, Too Fair
  2. Third Booke Of Songs 1603: II. Time Stands Still
  3. Third Booke Of Songs 1603: III. Behold A Wonder Here
  4. Third Booke Of Songs 1603: IV. Daphne Was Not So Chaste
  5. Third Booke Of Songs 1603: V. Me, Me, And None But Me
  6. Third Booke Of Songs 1603: VI. When Phoebus First Did Daphne Love
  7. Third Booke Of Songs 1603: VII. Say, Love, If Ever Thou Didst Find
  8. Third Booke Of Songs 1603: VIII. Flow Not So Fast, Ye Fountains
  9. Third Booke Of Songs 1603: IX. What If I Never Speed?
  10. Third Booke Of Songs 1603: X. Love Stood Amazed
  11. Third Booke Of Songs 1603: XI. Lend Your Ears To My Sorrow
  12. Third Booke Of Songs 1603: XII. By A Fountain Where I Lay
  13. Third Booke Of Songs 1603: XIII. O What Hath Overwrought
  14. Third Booke Of Songs 1603: XIV. Farewell, Unkind
  15. Third Booke Of Songs 1603: XV. Weep You No More, Sad Fountains
  16. Third Booke Of Songs 1603: XVI. Fie On This Feigning!
  17. Third Booke Of Songs 1603: XVII. I Must Complain
  18. Third Booke Of Songs 1603: XVIII. It Was A Time When Silly Bees
  19. Third Booke Of Songs 1603: XIX. The Lowest Trees Have Tops
  20. Third Booke Of Songs 1603: XX. What Poor Astronomers Are They
  21. Third Booke Of Songs 1603: XXI. Come When I Call

Tracks:

  1. A Pilgrimes Solace: I. Disdain Me Still
  2. A Pilgrimes Solace: II. Sweet Stay Awhile
  3. A Pilgrimes Solace: III. To Ask For All Thy Love
  4. A Pilgrimes Solace: IV. Love, Those Beams That Breed
  5. A Pilgrimes Solace: V. Shall I Strive Wih Words To Move?
  6. A Pilgrimes Solace: VI. Were Every Thought An Eye
  7. A Pilgrimes Solace: VII. Stay, Time, Awhile Thy Flying
  8. A Pilgrimes Solace: VIII. Tell Me, True Love
  9. A Pilgrimes Solace: IX. Go Nightly Cares
  10. A Pilgrimes Solace: X. From Silent Night
  11. A Pilgrimes Solace: XI. Lasso vita mia
  12. A Pilgrimes Solace: XII. In This Trembling Shadow Cast
  13. A Pilgrimes Solace: XIII. If That A Sinner's Sights
  14. A Pilgrimes Solace: XIV. Thou Mighty God
  15. A Pilgrimes Solace: XV. When David's Life
  16. A Pilgrimes Solace: XVI. When The Poor Cripple

Tracks:

  1. A Pilgrimes Solace: XVII. Where Sin Sore Wounding
  2. A Pilgrimes Solace: XVIII. My Heart And Tongue Were Twins
  3. A Pilgrimes Solace: XIX. Up Merry Mates
  4. A Pilgrimes Solace: XX. Welcome Black Night
  5. A Pilgrimes Solace: XXI. Cease, Cease These False Sports
  6. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Lachrimae Pavane
  7. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can Shee
  8. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana
  9. Keyboard Transcriptions Of Dowland's Music By Other Musicians: The Frogge
  10. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Frog's Galliard
  11. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavana And Galiarda
  12. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana Lachrymae
  13. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can She Excuse
  14. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavion Solus cum sola
  15. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Dowland's Almayne
  16. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Piper's Paven And Galliard
  17. Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavan Lachrymae

Tracks:

  1. Mr. Henry Noell Lamentations: I. The Lamentation Of A Sinner
  2. Mr. Henry Noell Lamentations: II. Domine ne in furore
  3. Mr. Henry Noell Lamentations: III. Miserere mei Deus
  4. Mr. Henry Noell Lamentations: IV. The Humble Suit Of A Sinner
  5. Mr. Henry Noell Lamentations: V. The Humble Complaint Of A Sinner
  6. Mr. Henry Noell Lamentations: VI. De profundis
  7. Mr. Henry Noell Lamentations: VII. Domine exaudi
  8. Lachrimae: Lachrimae Antiquae
  9. Lachrimae: Lachrimae Antiquae Novae
  10. Lachrimae: Lachrimae Gementes
  11. Lachrimae: Lachrimae Tristes
  12. Lachrimae: Lachrimae Coactae
  13. Lachrimae: Lachrimae Amantis
  14. Lachrimae: Lachrimae Verae
  15. Lachrimae: Mr. John Langton's Pavan
  16. Lachrimae: Mr. Nicholas Gryffith His Galiard
  17. Lachrimae: Sir John Souch His Galiard
  18. Lachrimae: Semper Dowland Semper Dolens
  19. Lachrimae: Mr. Giles Hobies Galiard
  20. Lachrimae: The King Of Denmark's Galiard
  21. Lachrimae: Sir Henry Umpton's Funerall
  22. Lachrimae: Mr. Henry Noell His Galiard
  23. Lachrimae: The Earl Of Essex Galiard
  24. Lachrimae: Mr. Bucton His Galiard
  25. Lachrimae: Mr. George Whitehead His Almand
  26. Lachrimae: Captain Digorie Piper His Galiard
  27. Lachrimae: Mr. Thomas Collier His Galiard
  28. Lachrimae: Mrs. Nichols Almand

Tracks:

  1. Sacred Songs: Sorrow, Come!
  2. Sacred Songs: I Shame At Mine Unworthiness
  3. Sacred Songs: An Heart That's Broken And Contrite
  4. Psalms: Psalm 100: All People That On Earth Do Dwell
  5. Psalms: Psalm 38: Put Me Not To Rebuke O Lord
  6. Psalms: Psalm 130: Lord To Thee I Make My Moan
  7. Psalms: Psalm 104: My Soul Praise The Lord
  8. Psalms: Psalm 100: All People That On Earth Do Dwell
  9. Psalms: Psalm 134: Behold And Have Regard
  10. A Prayer For The Queen's Most Excellent Majesty
  11. Instrumental Music: Solus cum sola pavan
  12. Instrumental Music: Lachrimae
  13. Instrumental Music: Galliard
  14. Instrumental Music: Pipers Pavan
  15. Instrumental Music: Lachrimae
  16. Instrumental Music: Lady Rich Galliard
  17. Instrumental Music: Earl Of Essex Galliard
  18. Instrumental Music: If My Complaints
  19. Instrumental Music: Lachrimae Doolande
  20. Instrumental Music: Lord Willoughbie's Welcome Home
  21. Instrumental Music: My Lord Chamberlaine His Galliard
  22. Instrumental Music: Comagain
  23. Instrumental Music: Pavan Lachrymae
  24. Instrumental Music: Sorrow Stay

Tracks:

  1. Lute Music: Preludium
  2. Lute Music: Lachrimae
  3. Lute Music: Can She Excuse
  4. Lute Music: Dr. Case's Pavan
  5. Lute Music: Melancholy Galliard
  6. Lute Music: Sir John Smith, His Almain
  7. Lute Music: Fantasia
  8. Lute Music: A Dream
  9. Lute Music: Almain
  10. Lute Music: The Queen's Galliard
  11. Lute Music: Coranto
  12. Lute Music: Resolution
  13. Lute Music: Mrs. Vaux Galliard
  14. Lute Music: Almain
  15. Lute Music: Mr. Dowland's MIdnight
  16. Lute Music: Fantasia
  17. Lute Music: Loth To Depart
  18. Lute Music: The Most Sacred Queen Elizabeth, Her Galliard
  19. Lute Music: The Earl Of Essex, His Galliard
  20. Lute Music: Pavan
  21. Lute Music: John Dowland's Galliard
  22. Lute Music: Aloe
  23. Lute Music: The Lady Clifton's Spirit
  24. Lute Music: What If A Day
  25. Lute Music: Mr. Giles Hobie's Galliard
  26. Lute Music: Come Away (Song arrangement)
  27. Lute Music: Galliard
  28. Lute Music: Fancy (Fantasia)

Tracks:

  1. Lute Music: Lachrimae (Basic Version)
  2. Lute Music: Galliard To Lachrimae
  3. Lute Music: [Jig]
  4. Lute Music: Galliard On 'Wasingham'
  5. Lute Music: Complaint (Ballad Setting)
  6. Lute Music: Mignarda (Galliard)
  7. Lute Music: Semper Dowland Semper Dolens (Pavan)
  8. Lute Music: The Frog Galliard
  9. Lute Music: A Fancy (Fantasia)
  10. Lute Music: Fancy (Fantasia)
  11. Lute Music: Piper's Pavan
  12. Lute Music: Captain Digorie Piper's Galliard
  13. Lute Music: Lady Laiton's Almain
  14. Lute Music: Dowland's Galliard
  15. Lute Music: Dowland's First Galliard
  16. Lute Music: Tarleton's Jig
  17. Lute Music: Walsingham (ballad Setting)
  18. Lute Music: Lord Willoughbie's Welcome Home (Ballad Setting)
  19. Lute Music: Sir Henry Guilforde, His Almain
  20. Lute Music: Pavan (Related To 'Lachrimae')
  21. Lute Music: Mr. Langton's Galliard
  22. Lute Music: Mrs. Clifton's Almain
  23. Lute Music: Galliard
  24. Lute Music: Lady Hunsdon's Puffe (Almain)
  25. Lute Music: Galliard
  26. Lute Music: Go From My Window (Ballad Setting)
  27. Lute Music: Fancy (Fantasia)

Tracks:

  1. Lute Music: Pavana Johan Douland
  2. Lute Music: Mrs. Brigide Fleetwood's Pavan (Solus sine sola)
  3. Lute Music: La mia Barbara
  4. Lute Music: Sir Henry Umpton's Funeral (Pavan)
  5. Lute Music: Lachrimae
  6. Lute Music: Farewell Fancy (Chromatic Fantasia)
  7. Lute Music: Farewell (On The 'In Nomine' Theme)
  8. Lute Music: The King of Denmark's Galliard
  9. Lute Music: Mrs. Vaux's Jig
  10. Lute Music: Mrs. Nichol's Almain
  11. Lute Music: Galliard
  12. Lute Music: Lord Strang's March
  13. Lute Music: Mrs. Winter's Jump
  14. Lute Music: Can She Excuse (Galliard)
  15. Lute Music: The Shoemaker's Wife, A Toy
  16. Lute Music: Mrs. Norrish's Delight
  17. Lute Music: Galliard
  18. Lute Music: Mrs. White's Thing (Almain)
  19. Lute Music: Mrs. White's Nothing
  20. Lute Music: The Frog Galliard
  21. Lute Music: Solus cum sola
  22. Lute Music: The Lord Viscount Lisle, His Galliard
  23. Lute Music: Orlando Sleepeth (Ballad Setting)
  24. Lute Music: Robin (Ballad Setting)
  25. Lute Music: Galliard (On A Galliard By Daniel Bacheler)
  26. Lute Music: Forlorn Hope Fancy (Chromatic Fantasia)

Tracks:

  1. Lute Music: The Lady Russell's Pavan
  2. Lute Music: Fancy (Fantasia)
  3. Lute Music: Sir John Langton's Pavan
  4. Lute Music: Earl Of Derby, His Galliard
  5. Lute Music: A Coy Toy
  6. Lute Music: Fortune My Foe
  7. Lute Music: [Almain]
  8. Lute Music: Mr. Knight's Galliard
  9. Lute Music: Sir John Souch His Galliard
  10. Lute Music: Tarletone's Riserrectione
  11. Lute Music: The Lady Rich, Her Galliard
  12. Consort Music: Lachrimae Pavan
  13. Consort Music: Can She Excuse Galliard
  14. Consort Music: Captain Piper's Pavan And Galliard
  15. Consort Music: The Frog Galliard
  16. Consort Music: Round Battell Galliard
  17. Consort Music: Fortune My Foe
  18. Consort Music: Dowland's First Galliard
  19. Consort Music: Katherine Darcie's Galliard
  20. Consort Music: Tarleton's Jigge
  21. Consort Music: Almain a 2
  22. Consort Music: Mistress Nichols Almain a 2
  23. Fullsack And Hildebrandt: Auserlesener Paduanen und Galliarden: Susanna Fair (Galliard)
  24. Haussmann: Rest von polnischen und andern Tanzen: Mistress Nichols Alman a 5
  25. Opusculum: Mr. John Langton Pavan And Galliard
  26. Opusculum: La mia Barbara Pavan and Galliard
  27. Opusculum: Lachrimae Antiquae Novae Pavan and Galliard

Tracks:

  1. Consort Music: Mistress NIchols Almain
  2. Consort Music: Volta a 4 ('Ioh. Douland')
  3. Consort Music: Were Every Thought an Eye
  4. Consort Music: Lady If You So Spite Me
  5. Consort Music: Pavan a 4
  6. A Musicall Banquet: I. My Heavy Sprite (Anthony Holborne)
  7. A Musicall Banquet: II. Change Thy Mind Since She Doth Change (Richard Martin)
  8. A Musicall Banquet: III. O Eyes, Leave Off Your Weeping (Robert Hales)
  9. A Musicall Banquet: IV. Go, My Flock, Go Get You Hence (Anon.)
  10. A Musicall Banquet: V. O Dear Life, When Shall It Be? (Anon.)
  11. A Musicall Banquet: VI. To Plead My Faith (Daniel Bacheler)
  12. A Musicall Banquet: VII. In A Grove Most Rich Of Shade (Guillaume Tessier)
  13. A Musicall Banquet: VIII. Far From Triumphing Court
  14. A Musicall Banquet: IX. Lady, If You So Spite Me
  15. A Musicall Banquet: X. In Darkness Let Me Dwell
  16. A Musicall Banquet: XI. Si le parler et le silence (Pierre Guedron)
  17. A Musicall Banquet: XII. Ce penser qui sans fin tirannise ma vie (Pierre Guedron)
  18. A Musicall Banquet: XIII. Vous que le Bonheur rappelle (Pierre Guedron)
  19. A Musicall Banquet: XIV. Passava Amor su arco desarmado (Anon. Spanish)
  20. A Musicall Banquet: XV. Sta notte mi sognava (Anon. Italian)
  21. A Musicall Banquet: XVI. Vuestros ojos tienen d'Amor (Anon. Spanish)
  22. A Musicall Banquet: XVII. Se di farmi morire (Domenico Maria Megli)
  23. A Musicall Banquet: XVIII. Dovro dunque morire? (Giulio Caccini)
  24. A Musicall Banquet: XIX. Amarilli mia bella (Giulio Caccini)
  25. A Musicall Banquet: XX. O bella piu (Anon, Italian)

Customer Reviews:

5 out of 5 stars A musical treasure-box.......2006-09-10

Both the music and this actual product are masterpieces. John Dowland's collected works here - covering 12 compact discs - exhibit the depth and power of this composer, a composer who many now regard as suffering from clinical depression. I doubt that the issue of the diagnosis of Dowland's depression can ever be settled, however, it is certainly obvious from his music, so completely on display here, that he was a man with very dark depths and corners in his mind. Dowland's various manifestations and "takes" on his own tune, "Flow my tears"/"Lachrimae" are here. This tune has haunted me ever since I first heard it when I was a child. It seems to sum up Dowland's feelings - at least Dowland seems to have thought so.

The First, Second, Third and Fourth Bookes of Songes, A Musicall Banquet, the keyboard transcriptions, all the lute music, consort music are here and virtually everything else written or supposedly written by John Dowland. Anthony Rooley and The Consort of Musicke perform this music with style and feeling throughout. This 12 CD set is something of a monument to the ensemble - I only wish they'd finished their collection of Monteverdi madrigals, which was equally good (La Venexiana are currently doing a magnificent job of recording all Monteverdi's books of madrigals for the GLOSSA label).

This is an expensive set, however, you will probably never need to buy another John Dowland CD again after buying and listening to this collection.

I bought this CD set on a mild Summer evening of 1998 and listened to it while sitting in my sun room - which a glorious orange sunset in progress, and a glass of wine. It brought back so many memories.

5 out of 5 stars a beautiful journey into melancholy.......2001-06-15

I'm amazed at how many people tend to associate John Dowland's music with a tragic sense of drama. While no doubt this is art highly based on sadness, the "tragic" sense of it is more a legacy from the Romantic period. During the Renaissance, however, sadness was undestood as a very aesthetic way of approaching life. That is also the reason why Shakespeare's tragedies appear more sophisticated than his comedies.

Dowland, a contemporary of Shakespeare, discovered that meditating on a sad theme is, at the same time, a way of discovering a special beauty that we tend to avoid (maybe because of the "tragic" heritage of the Romantics). So, in the end, meditating on sadness is an uplifting experience! This box set is a journey into melancholy that includes songs, chamber music, pieces for lute, some rare sacred music and -as a highlight- Dowland's beautiful collection of seven pieces for viola which he called "Lachrimae" (Tears).
The Maury Yeston Songbook
Average customer rating: 4.5 out of 5 stars
  • a wonderful surprise
  • What!? How is this possible?
  • Beauty and grace, charm and wit - Maury's got it all
  • A perfect marriage of music and lyrics
  • The Maury Yeston Songbook
The Maury Yeston Songbook
Maury Yeston , Christine Andreas , Brent Barrett , Betty Buckley , Liz Callaway , Alice Ripley , Sutton Foster , Brian d'Arcy James , and Philip Chaffin
Manufacturer: P.S. Classics
ProductGroup: Music
Binding: Audio CD

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  1. The Maury Yeston Songbook
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  4. December Songs
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ASIN: B00008H2LJ
Release Date: 2003-04-08

Tracks:

  1. Please Let's Not Even Say Hello - Alice Ripley
  2. Only with You - Brent Barrett
  3. I Want to Go to Hollywood - Sutton Foster
  4. Danglin' - Johnny Rodgers
  5. I Had a Dream About You - Betty Buckley
  6. My True Love - Philip Chaffin
  7. A Call from the Vatican - Alice Ripley
  8. Now and Then - Laura Benanti
  9. You're There Too - Christopher Fitzgerald
  10. Is Someone Out There? - Eden Espinosa
  11. New Words - Brent Barrett
  12. My Grandmother's Love Letters - Christine Ebersole
  13. By the River - Christine Andreas
  14. I Am Longing - Philip Chaffin
  15. Home - Laura Benanti & Robert Cuccioli
  16. Another Day in the Modern World - Michael Holland
  17. Simple - Liz Callaway
  18. Unusual Way - Brian d'Arcy James
  19. Be On Your Own - Betty Buckley
  20. No Moon - Howard McGillin

Amazon.com

Despite racking up Tony nominations and/or box-office success with Nine, Grand Hotel, and Titanic, Maury Yeston remains a relatively unknown Broadway auteur. And yet, what a fabulous songwriter he is. Listen to "Home," for instance: This excerpt from Phantom (the other adaptation of Phantom of the Opera) has great melodic hooks, along with natural sweep and unrestrained emotion. Like every song on this CD, it also has such dramatic drive that it easily stands on its own outside of its regular narrative frame. This collection of new recordings provides an excellent overview of Yeston's talent, juxtaposing numbers from his three best-known scores (though there's only one from Titanic) with rarities and a generous selection from his 1991 song cycle December Songs. Christine Ebersole, Liz Callaway, and Betty Buckley turn in expectedly strong performances, but watch also for Laura Benanti (the star of the 2003 revival of Nine), Christine Andreas, and Foster Sutton, who completely make the material theirs. --Elisabeth Vincentelli

Description

The Tony Award-winning composer/lyricist -- who's given us the smash hit musicals Titanic, Phantom and Grand Hotel, and whose first stage show, Nine, is currently being revived in New York with Antonio Banderas -- is celebrated in song by the best stars o

Customer Reviews:

4 out of 5 stars a wonderful surprise.......2007-07-22

Like others, I bought this CD primarily for Sutton Foster's rendition of "I Want to Go to Hollywood." And while that's wonderful, the real surprises here are the songs from Yeston's song cycle "December Songs." Christine Ebersole and Christine Andreas give absolutely lovely, technically proficient, completely heartfelt renditions of "My Grandmother's Love Letters" and "By the River", respectively. I'd heard Andrea Marcovicci's recording of "December Songs" and was seriously underwhelmed. These two tracks just prove that Yeston might have over-estimated Marcovicci's range and technical ability. "By the River" is a revelation in the right hands, and Ms. Andreas's rendition is just four minutes of wonderful. I also want to mention Howard McGillin's "No Moon". This little song from "Titanic" is just so moving. Pulled out of context, it becomes a little jewel of metaphor.

The CD as a whole is beautifully recorded, with an intimacy and clarity that makes you feel like you're in the first row of a very small theatre. If you come across this and you're on the fence, take a chance. I bet that you'll be as pleasantly surprised and deeply moved as I've been.

3 out of 5 stars What!? How is this possible?.......2007-01-20

How could one put together a Maury Yeston Songbook cd without a track from Andrea Marcovicci? He wrote a song cycle for her. Granted there are some great singers here but a grave oversight to not include Ms Marcovicci.

5 out of 5 stars Beauty and grace, charm and wit - Maury's got it all.......2006-11-14

Maury Yeston may be musical theatre's unsung genius to the public at large, but I've heard his praises sung many times. A friend convinced me to buy the original Broadway cast of "Nine", and while there were some fantastic songs and an undeniable melodic gift throughout, it left me lukewarm. The same with "Grand Hotel". And I couldn't stand "Titanic" - too big, too self-important, too reliant on booming low brass and bombastic orchestral swells.

"Phantom" was the only one of his scores that touched something other than distanced admiration in me. It was everything Sir Lloyd Webber's popera travesty could never quite aspire to - epic yet human, beautiful and touching, with songs that showed actual details and emotions. So it was with that in mind that I purchased this, figuring that maybe Maury could prove me wrong, shorn from the restrictions of a book musical format.

And by God, did he prove me right and then some.

Maybe it's the singers. Maybe it's the perfect orchestrations. Maybe it's just the absence of a plot to follow. More than likely, it's all three, but this is one of the most gorgeous, enjoyable, heartbreaking albums I've ever purchased. Yeston has assembled an impressive cast to give voice to his music - such heavy Broadway hitters as Alice Ripley, Brent Barrett, Betty Buckley, Christine Ebersole and Howard McGillin mix with up-and-comers like Eden Espinosa, Sutton Foster, and Brian d'Arcy James. But the most impressive turns are given by people I'd never heard of before - Johnny Rodgers (who?) has a voice spun from gold, and he's absolutely perfect in "Danglin'", a simple and powerful song despite some odd lyric choices by Yeston. Likewise Philip Chaffin in "My True Love" and "I Am Longing", and Michael Holland displays a warm and untrained performance of "Another Day in the Modern World". These three men, who I'd never heard of before, absolutely stole the show. It doesn't hurt that they're given some of the best songs from the album.

Of course, the rest of the ensemble uniformly turns in worthwhile performances. The professionalism of Broadway is gloriously evident here, each singer making their song uniquely theirs. Brent Barrett made me hear "Only With You" as if for the first time. Betty Buckley is surprisingly vulnerable in "I Had A Dream About You". Alice Ripley is her usual bundle of raw emotion in "Please Let's Not Even Say Hello", and turns in a rare comic performance in "Call From The Vatican" to great effect (listen to that surprise high note near the end! Wow, Alice!). Christine Ebersole is heartbroken, elated, vulnerable, and tough all in the course of "Grandmother's Love Letters"' 4 minutes.

There are some weak spots - Eden Espinosa is mostly one-note during her song, and while it's certainly a high note, it's nothing you haven't heard her do better elsewhere. Laura Benanti's "Now and Then" goes by without much notice, which is a shame for this talented actress. And Betty Buckley goes back to her usual high-volume stridence in "Be On Your Own", which despite its chilling music deserves a more nuanced performance than Buckley gives here. But these songs would be standouts on any other album, and it's only the company they keep that prevent them from being excellent.

Oh, and "Unusual Way", possibly Yeston's best-known song, is so beautifully performed here by Brian d'Arcy James and a three-piece band that I nearly cried hearing it. And that's quite a feat for a song that I swore never to listen to again after the seventeenth girl in a day auditioned with it (badly). But the gender swap works perfectly, and d'Arcy James' golden Irish tenor swings through the music effortlessly.

As for the band - there are no missteps here. Each song is given exactly what it needs, from the Romantic-with-a-capital-R string section on "Home", to the jazzy saxophone on "Letter From the Vatican", to "Be On Your Own", which is given a Herrmann-esque string section. Some particular touches stand out - that lovely acoustic guitar on "Danglin'", the simple piano line on "Modern World", and the sublime cello/piano outro in "Unusual Way" really stuck with me after the album stopped playing. And the recording is without fault - crisp, encompassing, personable and expansive as the mood requires. The whole album sounds fantastic.

There is such a wide range of style and substance here that each song would deserve purchasing individually. As a collection? It's bliss. If you're a fan of theater music, appreciate great vocals, or just need something to keep you company on long nights, this is required purchase.

5 out of 5 stars A perfect marriage of music and lyrics.......2006-09-07

I think Yeston must be the most underrated talent in music theatre. And not just music theatre ... for as far as I know, "Danglin'" is not from a show - a jewel of a song ... and a disarmingly honest rendition from Johnny Rogers (what a beautiful voice! Why hasn't he made more CD's?) Some other favourites are "New Words" (not enough parent-child love songs out there ... and I can't imagine it could be sung any better than this), "You're there too" (with a charming and unexpected twist), "Simple" (Callaway is superb), "Only With You" (loveable rogue!) ... to name but a few. Inspired music theatre writing. A must for any musical buff, composer or singer seeking repertoire that will help them stand out from the crowd.

3 out of 5 stars The Maury Yeston Songbook.......2006-08-30

A good album sung by good singers. I have been an admirer of Maury Yeston for a number of years . I am a great fan of "Nine"
which I consider his best work.(If possible try to listen to the
Australian Cast Recording with John Diedrich) I enjoy listening to artists like Alice Ripley, Brent Barrett, Sutton Foster,and my very favourite singer Liz Callaway. All in all a great CD to just sit back ,relax and enjoy Les Breen
That Was Then...This Is Now
Average customer rating: Not rated
    That Was Then...This Is Now
    Ivan Parker
    Manufacturer: Horizon
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000OCY7C6
    Release Date: 2007-05-01

    Tracks:

    1. That Was Then, This Is Now
    2. I Choose
    3. Oh I Want to See Him
    4. Thank You
    5. Hit the Ground Running
    6. Rise and Be Healed
    7. In the Middle of My Everyday Life
    8. It Is Well
    9. Higher Ground
    10. Only a Hill
    11. King Is Coming to Town
    12. Midnight Cry [Live from NQC]
    When Then Is Now
    Average customer rating: 5 out of 5 stars
    • The Muses have Spoken
    • She's done it!
    • Claire steps down, Lisa steps up
    When Then Is Now
    Lisa Chappell
    Manufacturer: Goset Music
    ProductGroup: Music
    Binding: Audio CD

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    1. McLeod's Daughters: Songs from the Series Volume 2
    2. McLeod's Daughters: Songs from the Series
    3. McLeod's Daughters - Season 1
    4. McLeod's Daughters Complete Second Season
    5. McLeod's Daughters - The Complete Third Season

    ASIN: B000FIHIF2
    Release Date: 2006-06-26

    Tracks:

    1. Flowers in the Wasteland
    2. Love's Around the Corner
    3. Desire
    4. Mother Son
    5. Noah
    6. Pheromone City
    7. When Then Is Now
    8. Dancing Hands
    9. Midnight Bird
    10. Lullaby

    Album Description

    Best known for her work as an actor, as Claire on McLeod's Daughters, Lisa has spent the past year writing and recording her debut album. Influenced by strong storytellers such as Lucinda Williams, k.d lang and Bob Dylan, Chappell wrote and recorded 10 original tracks for her debut album. Producer Rick Price encouraged her to strip back the songs to just her voice and one backing instrument, keeping the music as raw as possible and allowing the stories to shine through. 2006.

    Customer Reviews:

    5 out of 5 stars The Muses have Spoken.......2006-08-11

    Lisa's voice along with her inspiring lyrics have created music that inspires and frees the spirit. Her songs contain a variety of genre from love of the heart to the love for humanity. A CD that will be played over and over throughout time as the messages are timeless and travel beyond all borders.

    5 out of 5 stars She's done it!.......2006-08-02

    Lisa Chappell is wonderful. She shows talent and free spirit. It is inspirational and beautiful to listen too!
    Enjoy! Lisa is going back to folk music as it should be.

    5 out of 5 stars Claire steps down, Lisa steps up.......2006-06-13

    Lisa has a beautiful voice and is a wonderful story teller! I definitely recommend this CD. You will definitely find one song, (if not more) that you can relate to something or someone in your life. Hopefully, Lisa has more stories to tell.
    What Then Is Love, An Elizabethan Songbook
    Average customer rating: 3.5 out of 5 stars
    • What then is taste?
    • Why no listing of the songs?
    • Lacks that extra drop of refinement
    What Then Is Love, An Elizabethan Songbook

    Manufacturer: Elektra / Wea
    ProductGroup: Music
    Binding: Audio CD

    All Works by DowlandAll Works by Dowland | Dowland, John | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
    Holborne, AnthonyHolborne, Anthony | ( H ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
    Ballets & DancesBallets & Dances | Renaissance (c.1450-1600) | Historical Periods | Classical | Styles | Music
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    Boston CamerataBoston Camerata | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    GeneralGeneral | Chamber Music | Classical | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    MadrigalsMadrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music
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    PartsongsPartsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music
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    ASIN: B00000IWRF
    Release Date: 1999-05-18

    Tracks:

    1. I - Sing A Song Of Joy: Sing A Song Of Joy
    2. I - Sing A Song Of Joy: Eliza Is the Fairest Queen
    3. I - Sing A Song Of Joy: The Honeysuckle
    4. II - What Then Is Love?: What Then Is Love Sings Coridon
    5. II - What Then Is Love?: What Then Is Love But Mourning
    6. II - What Then Is Love?: What Thing Is Love?
    7. III - Sorrow, Come: Galliard 'Shall I Strive'
    8. III - Sorrow, Come: I Sigh, As Sure to Wear the Fruit
    9. III - Sorrow, Come: Sorrow, Come
    10. IV - Shall I Sue?: Heigh-Ho Holiday
    11. IV - Shall I Sue?: Shall I Sue
    12. IV - Shall I Sue?: Breake Now My Heart And Dye
    13. IV - Shall I Sue?: Woo Her And Win Her
    14. V - Witty Wanton: The Peaceful Western Wind
    15. V - Witty Wanton: Sweet Philomel
    16. V - Witty Wanton: I Care Not For These Ladies
    17. V - Witty Wanton: Courante On 'I Care Not For These Ladies'
    18. V - Witty Wanton: A Pretty Duck There Was
    19. V - Witty Wanton: Witty Wanton
    20. VI - Faine Would I Wed: Faine Would I Wed
    21. VI - Faine Would I Wed: Mother, I Will Have A Husband
    22. VI - Faine Would I Wed: Now Hath Flora Robb'd Her Bow'rs
    23. VII - Sing We And Chant It: Move Now With Measured Sound
    24. VII - Sing We And Chant It: Rest, Sweet Nymphs
    25. VII - Sing We And Chant It: Sing We And Chant It

    Customer Reviews:

    5 out of 5 stars What then is taste?.......2000-04-10

    The very reason I purchased this CD was the fact that it used reconstructed Elizabethan accents; attempts at accuracy are always preferable to bowing to popular misconceptions (like in Shakespeare in Love--ack). I found this recording both aesthetically pleasing and intellectually stimulating--one can clearly see through this recording the branch-off point between the modern British and American accents, something which had always mystified me before.

    Musically, this recording is full of little-known gems of the English Renaissance. This is a sample of what's on it, for Kenneth Melia: Sing a song of joy; Eliza is the fairest Queen; What then is love but mourning; Shall I sue; Heigh-ho holiday; I care not for these ladies; Mother, I will have a husband; Rest, sweet nymphs (a beautiful rendition with soaring harmonies on the chorus); and Sing we and chant it. Kenneth, if you still want a more complete list, just e-mail me (mitsuo@uclink4.berkeley.edu). But I insist that if you buy it now, without knowing all the songs, you will not be disappointed. They are subdued and genteel, with that hint of playfulness which one could say characterized the court under Elizabeth I. The vocalists are excellent, never succumbing to the operatic vocal style so popular with renditions of this repertoire, and, I think, the least authentic. Once again, Anne Azema charms with her supple, almost serpentine stylizations, and you also get a wealth of other talented vocalists who speak the Elizabethan tongue with convincing fluency. The instrumentalists play with passion and a feline subtlety that will catch you and never let go.

    1 out of 5 stars Why no listing of the songs?.......1999-12-04

    I'll admit, right away, that I haven't heard the music on this CD. What I want to comment about is the fact that it is impossible to FIND OUT WHAT MUSIC IS ACTUALLY ON IT! I thought Amazon would have the list of songs, because I couldn't find out what they were at the local music shop. I already have a good number of Boston Camerata CD's and I wanted to find out what was on this one before I purchased it. The local store even has a software program which normally allows customers to find out what's contained on a CD if it isn't on the cover. The only listing for this CD was "songs." This isn't the first time that a Boston Camerata CD has not had the musical selections listed on the outside. Why not ALWAYS have a listing of the music on the cover? Even if it's in small font it would still be worth it. So, as of yet I haven't purchased it. How does one find out what's on it? K.Melia

    4 out of 5 stars Lacks that extra drop of refinement.......1999-05-23

    This is a hard one to call. Brought up as I was on the ultra-modulated renditions of this and like material on Vanguard LPs by Alfred Deller and his consort, I find this Erato effort lacks that extra drop of refinement that is needed for the courtly music of the Elizabethan period. (The street and theater music might be another story, but beside the point here.) I know it is Anglophilic bias working here, but I found (for example) tenor William Hite's East Coast accent distracting. The women have accents that, while not all that appropriate, at least do not jar. It is of course true that Elizabethan English was closer to what Ringo Starr sounded like than Laurence Oliver. Play the track that contains "I care not for these ladies," which is indeed sung with a regional accent and you will see what I mean. However, in general "an Elizabetan Songbook" should sound at least what we accept today as British-sounding, if you follow. This said, I cannot fault the vocalizing or the playing. But I will still return to my Vanguard sets before playing this again. Still--who can dispute taste?
    Classics Explained: Rite of Spring
    Average customer rating: Not rated
      Classics Explained: Rite of Spring
      Stravinsky , Rahbari , and Brt Po Brussels
      Manufacturer: Naxos
      ProductGroup: Music
      Binding: Audio CD

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      2. An Introduction to Ravel's "Boléro" and "Ma mère l'oye"
      3. Classics Explained: Brandenburg Concertos 4 & 5
      4. An Introduction to Brahms' Piano Concerto No. 2
      5. Symphony 9: Introduction to Dvorak

      ASIN: B00007FPFN
      Release Date: 2003-07-15
      The John Adams Earbox: A 10-CD Retrospective
      Average customer rating: 5 out of 5 stars
      • Moved to tears
      • Nonesuch delivers.Again
      • harmonia in excelsis
      • Our greatest living composer
      • Wonderful CD
      The John Adams Earbox: A 10-CD Retrospective

      Manufacturer: Nonesuch
      ProductGroup: Music
      Binding: Audio CD

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      Similar Items:
      1. Steve Reich 1965-1995
      2. John Adams: The Dharma at Big Sur/My Father Knew Charles Ives
      3. 25 Years: Retrospective
      4. Century Rolls
      5. Stephen Albert: Symphonies Nos. 1 & 2

      ASIN: B00001SID1
      Release Date: 1999-10-19

      Tracks:

      1. Lollapalooza
      2. John's Book Of Alleged Dances: Judah To Ocean
      3. John's Book Of Alleged Dances: Toot Nipple
      4. John's Book Of Alleged Dances: Dogjam
      5. John's Book Of Alleged Dances: Pavane: She's So Fine
      6. John's Book Of Alleged Dances: Rag The Bone
      7. John's Book Of Alleged Dances: Habanera
      8. John's Book Of Alleged Dances: Stubble Crotchet
      9. John's Book Of Alleged Dances: Hammer & Chisel
      10. John's Book Of Alleged Dances: Alligator Escalator
      11. John's Book Of Alleged Dances: Standchen: The Little Serenade
      12. John's Book Of Alleged Dances: Judah To Ocean (Reprise)
      13. Slonimsky's Earbox

      Tracks:

      1. Two Fanfares For Orchestra - Tromba Lontana
      2. Two Fanfares For Orchestra - Short Ride In A Fast Machine
      3. Common Tones In Simple Time
      4. El Dorado - Part I. A Dream Of Gold
      5. El Dorado - Part II. Soledades

      Tracks:

      1. Harmonielehre - Part I
      2. Harmonielehre - Part II The Anfortas Wound
      3. Harmonielehre - Part III Meister Eckhardt And Quackie
      4. Violin Concerto - Part I
      5. Violin Concerto - Part II Chaconne:
      6. Violin Concerto - Part III Toccare

      Tracks:

      1. Chamber Sympony - Mongel Airs
      2. Chamber Sympony - Aria With Walking Bass
      3. Chamber Sympony
      4. Hoodo Zephyr - Tundra
      5. Hoodo Zephyr - Dissappointment Lake
      6. Hoodo Zephyr - Hoodo Zephyr
      7. Gnarly Buttons - The Perilous Shore
      8. Gnarly Buttons - Hoe-Down (Mad Cow)
      9. Gnarly Buttons - Put Your Loving Arms Around Me

      Tracks:

      1. Ensemble - I Was Looking At The Ceiling And Then I Saw The Sky
      2. A Sermon On Romance
      3. Consuelo's Dream
      4. Mike's Song About Arresting A Particular Individual
      5. Tiffany's Solo
      6. Song About The On-Site Altercation
      7. Song About The Bad Boys And The News
      8. Your Honor My Client He's A Young Black Man
      9. Leila's Song; Alone (Again Or At Last)
      10. Three Weeks And Still I'm Outta My Mind
      11. Crushed By The Rock I Been Standing On
      12. Dewain's Song Of Liberation And Surprise
      13. !Este Pais! / This Country
      14. One Last Look At The Angel In Your Eyes
      15. Finale

      Tracks:

      1. Lollapalooza
      2. John's Book Of Alleged Dances - Judah To Ocean
      3. John's Book Of Alleged Dances - Toot Nipple
      4. John's Book Of Alleged Dances - Dogjam
      5. John's Book Of Alleged Dances - Pavane: She's So Fine
      6. John's Book Of Alleged Dances - Rag The Bone
      7. John's Book Of Alleged Dances - Habenera
      8. John's Book Of Alleged Dances - Stubble Crotchet
      9. John's Book Of Alleged Dances - Hammer & Chisel
      10. John's Book Of Alleged Dances - Alligator Escalator
      11. John's Book Of Alleged Dances - Standchen: The Little Serenade
      12. John's Book Of Alleged Dances - Judah To Ocean (Reprise)
      13. Slonimsky's Earbox

      Tracks:

      1. Harmonium - Negative Love
      2. Harmonium - Becuase I Could Not Stop For Death
      3. Harmonium - Wild Nights
      4. Shaker Loops - Shaking and Trambling
      5. Shaker Loops - Hymning Slews
      6. Shaker Loops - Loops and Verses
      7. Shaker Loops - A Final Shaking

      Tracks:

      1. The Chairman Dances - Foxtrot For Orchestra
      2. Grand Pianola Music - First Movement
      3. Grand Pianola Music - Second Movement
      4. Grand Pianola Music - Third Movement: On The Dominant Divide
      5. Fearful Symmetries

      Tracks:

      1. Nixon In China - Opening
      2. Nixon In China -
      3. Nixon In China -
      4. Nixon In China - Landing Of The Spirit Of '76
      5. Nixon In China -
      6. Nixon In China -
      7. Nixon In China -
      8. Nixon In China -
      9. Nixon In China - Cheers
      10. Nixon In China -
      11. Nixon In China - Opening
      12. Nixon In China -
      13. Nixon In China -
      14. Nixon In China -
      15. Nixon In China -
      16. Nixon In China -
      17. Nixon In China -
      18. Nixon In China -
      19. Nixon In China -
      20. Nixon In China -
      21. Nixon In China -
      22. Nixon In China -

      Tracks:

      1. The Wound-Dresser
      2. Christian Zeal And Activity
      3. Five Songs - Thoreau
      4. Five Songs - Down East
      5. Five Songs - Cradle Song
      6. Five Songs - At The River
      7. Five Songs - Serenity
      8. Eros Piano

      Amazon.com

      Having earned his composing stripes after the 1960s, John Adams had the pioneering work of Steve Reich, Philip Glass, and Terry Riley close at hand as he ventured into his trade. And, while minimalism's historical continuum helps place Adams, he used Reich, Glass, and Riley (among others) only as a starting point. And here's proof: a 10-CD retrospective of nearly all Adams's recorded compositions on Nonesuch Records, the label that also issued Steve Reich 1965-1995 and Kronos Quartet: 25 Years. Adams's Harmonium, a choral work of startling energy and effervescence, appears here in a new recording, as do distillations of both The Death of Klinghoffer and Nixon in China, two path-clearing operas. Over the span of a career covered by Earbox, Adams has returned minimalism to traditional instrumental ensembles as well as to projects that at once advanced a political commentary and took that commentary back to orchestral audiences. And so, in far less time than his predecessors, Adams created works that now play like standard repertoire pieces: The Wound Dresser and Shaker Loops and the Violin Concerto--all of them are here. What these works demonstrate is a fierce creativity on the one hand and perhaps a hunger for commercial advances on the other. Adams may at times be a bustling free thinker, but he sounds ever conscious of what audiences are listening to. As for the works themselves, they remain every bit as daunting as when written.

      Some may object to particular selections. I Was Looking at the Ceiling and Then I Saw the Sky, for example, hardly ranks with Adams's best work. But this box isn't a mere best-of; it's an almost-all-of. At times terrifically American--especially in the news-aware operas and their narrative pragmatism--Adams well deserves a major box set, and its coverage is appropriate to his varied, stylistically diverse output. As with any large-scale retrospective, Earbox--which fairly bristles with Adams's new composition, Slonimsky's Earbox--has spots where fans might balk at the quality of the composer's writing. But it's got a fantastic accompanying booklet along with its many hours of inarguably modern and thoroughly listener-friendly music. --Andrew Bartlett

      Customer Reviews:

      5 out of 5 stars Moved to tears.......2004-03-18

      Never before in my life was i moved so intensely and directly by classical music. I put the first cd in my player and a few minutes later tears are flowing. I find myself dancing and moving to a rythm i already seem to know. Wow, i just have to share that.

      5 out of 5 stars Nonesuch delivers.Again.......2002-11-27

      John adams is one of the most popular living composers of"modern" classical music[I believe the cutoff point, though arbitrary is usually WWII}.I came to him late, through my husband. Modersn classical music , I said? What the hell is that?My husband kept playing bits and pieces of adams for me, and more and more i found myself amazed. and swayed. His operas have been groundbreaking{Nixon in China} controversial{Death Of klinghoffer},his compostions sublimely beautiful{shaker Loops or harmonium].HIS STATURE IS WORTHY THEN OF SUCH A MONUMENTAL CAREER SPANNING BOX SET.This 10 disc set[great value, again from NONESUCH}encompasses Adams' entire career,and though there are some misses here{I was looking at the ceiling and then i saw the sky doesnt quite fit},it is still magnificent. the Highlights are ,{for me} the Wound Dresser, Chamber symphony,Violin Concerto, of course, Shaker Loops and Harmonuim are wonderful. The true jewels here are Nixon in China,the Chairman dances and the Death of Klinghoffer,which is simply a masterpiece. The set comes with a wonderful book, which contains essay's by Robert Hurwitz {An Uncommon Man}renaud Machart[John adams as seen from europe} and Essays before an earbox by Adams himself.A Chronology and dicography are included. A wonderful study of an American original,worth the investment, Highly highly recommended

      4 out of 5 stars harmonia in excelsis.......2001-11-12

      I must agree with Mr. Bartlett, particularly with regard to "Ceiling." It may well be because his Violin Concerto and Harmonielehre are so powerful. 4.5 stars.
      Interesting, and likely intentional, is that two names in the extensive liner book fail to mention two great and glaringly obvious precursors: Carl Orff and Raymond Scott. Without "Carmina Burana," there would be no "Harmonium." Orff has his mark all over Adams's gifted and epic compositions. Similarly, though there are glib references to "cartoon music," the polymath engineer/musician Scott is a seminal figure in American music, and casts a large shadow over the witty juxtapositions and sense of play one loves in Adams's work. In all, an excellent career overview.

      5 out of 5 stars Our greatest living composer.......2001-07-22

      As a composer, I'm staggered that anyone could fail to be gripped by this music.

      That anyone can use the words "spoiled, overrated" amazes me. I emphatically disagree with "A music fan"'s review.

      I don't think it's "mind-numbing"; I think it's spiritual and exciting. To me it's the most substantial music being created in our times.

      I'm really sorry that anyone could fail to enjoy it, and really recommend others to listen for themselves.

      5 out of 5 stars Wonderful CD.......2000-04-02

      This compilation should turn even the most curmudgeonly listerner into a fan. Beautifully recorded, great notes -- and it's a heck of a bargain!
      Wagner: The Rhinegold
      Average customer rating: 4.5 out of 5 stars
      • A Rose By Any Other Name...
      • "Thus I salute the stronghold, safe from dread and dismay!
      • Free at last!
      • I Love This Recording
      • The Goodall Ring - 1975 - Restored and Remastered
      Wagner: The Rhinegold
      English National Opera
      Manufacturer: Chandos
      ProductGroup: Music
      Binding: Audio CD

      All Works by WagnerAll Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
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      Similar Items:
      1. Siegfried (Goodall Ring Cycle/Chandos Opera in English)
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      3. Wagner: The Valkyrie

      ASIN: B00005B550
      Release Date: 2001-05-22

      Customer Reviews:

      5 out of 5 stars A Rose By Any Other Name..........2007-07-02

      The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
      But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
      All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
      But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
      With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
      Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

      4 out of 5 stars "Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

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

      TIMING (Estimate):
      Solti's Ring: 14 hours, 30 minutes
      Bohm's Ring: 13 hours, 30 minutes
      Karajan's Ring: 14 hours, 50 minutes
      Goodall's Ring: 16 hours, 50 minutes
      Boulez's Ring: 13 hours, 40 minutes
      Janowski's Ring: 14 hours, 0 minutes
      Levine's Ring: 15 hours, 20 minutes
      Haitink's Ring: 14 hours, 10 minutes
      Sawallisch's Ring: 14 hours, 0 minutes

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

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

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

      Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

      Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

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

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

      Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

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

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

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

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

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

      Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

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

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

      Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

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

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

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

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

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

      Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

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

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

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

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

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

      Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

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

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

      Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

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

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

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

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

      Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

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

      Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

      Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

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

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

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

      Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

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

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

      Haitink: No offense, but Theo Adam as Alberich? Come on . . .

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

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

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

      Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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

      Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

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

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

      Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

      Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

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

      Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

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

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

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

      -Everyone Else
      Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

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

      The Box Set: Wagner: The Ring Cycle (Box Set)
      -The Valkyrie (Part 2): Wagner: The Valkyrie
      -Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
      -Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

      5 out of 5 stars Free at last!.......2004-09-18

      I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

      5 out of 5 stars I Love This Recording.......2002-04-05

      I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

      What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

      I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

      4 out of 5 stars The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

      I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

      As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

      Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

      Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

      For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

      Music:

      1. Observer News Single
      2. Odelay [Import]
      3. One [Explicit Lyrics]
      4. Orange [Import]
      5. Original Gold
      6. Pablo Honey [Import]
      7. Paper Boy
      8. Play It Again
      9. Pop [Import]
      10. Rain Remixes [CD-single] [Import]

      Music

      music

      Music

      Nemesisters [Enhanced] [EP] [Import]

      Szymanowski: Symphony No4; Harnasie Op55

      Sacred Polyphony of Th 16th Century

      The Message

      Songbirds [Import]

      Spin [Enhanced]

      Singing Animal Parade

      The Ahrend Organ of Monash University, Melbourne

      That's the Way Life Goes: The Hit Songs 1950-1975

      Reik

      Stripped [Enhanced]

      Prohom [Import]

      Salowmoshan: Compiled by Shue Cane [Import]

      Hush Lil' Lady

      Sacred Treasures III: Choral Masterworks from Russia