Phillips: Keyboard Music

1. Chi fara fed' al cielo
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

2. Pavan and Galliard for consort in 5 parts
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

3. Work(s) Galliard, (from the Fitzwilliam Virginal Book, 18)
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

4. Aria del Gran Duca Ferdinando di Toscana, for consort in 5 parts
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

5. Pavan and Galliard for consort in 5 parts "Paget"
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

6. Veni Sancte Spiritus
Composed by Peter Philips
with Peter Holman , Paul Nicholson , Grant O'Brien , Johannes Ruckers

7. Partita fece da voi
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

8. Pavan and Galliard for consort in 5 parts "Dolorosa"
Composed by Peter Philips
with Peter Holman , Paul Nicholson , Grant O'Brien , Johannes Ruckers

9. Pavan and Galliard for consort in 5 parts "Dolorosa"
Composed by Peter Philips
with Peter Holman , Paul Nicholson , Grant O'Brien , Johannes Ruckers

10. Variations on Losso's "Bonjour mon coeur"
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

11. Alman Tregian for consort in 5 parts
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

12. Passamezzo Pavan and Galliard
Composed by Peter Philips
with Peter Holman , Paul Nicholson , Grant O'Brien , Johannes Ruckers

13. Fantasy for harpsichord in G
Composed by Peter Philips
with Claire Hammett , Peter Holman , Paul Nicholson , Mark Ransom

Phillips: Keyboard Music,Peter Philips,Claire Hammett,Mark Ransom,Paul Nicholson,Peter Holman,Hyperion,Chamber,Chamber Music,Chamber Music & Recitals,Classical,Classical Composers,Classical Music,Fantasy/Fantasia for Keyboard,Keyboard,Miscellaneous,Miscellaneous Music,Music for Keyboard,Renaissance Dance Music

Horn Trios by Brahms & Ligeti
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Please, Ligeti, don't insult Brahms!

Hommage from a great to a great!

Contemporary Horn Music

great imaginative hommage between polar romantics

Horn Trios by Brahms & Ligeti

Manufacturer: Bridge
ProductGroup: Music
Binding: Audio CD

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The Ligeti Project IV: Hamburg Concerto (Horn Concerto) / Double Concerto / Ramifications / Requiem

Johannes Brahms: Symphony No. 4 in E minor, Op. 98 - Carlos Kleiber / Vienna Philharmonic Orchestra

ASIN: B000003GI7
Release Date: 1993-09-11

Tracks:

Trio in E flat, Op.40: Andante - Daniel Phillips/William Purvis/Richard Goode
Trio in E flat, Op.40: Scherzo. Allegro - Daniel Phillips/William Purvis/Richard Goode
Trio in E flat, Op.40: Adagio Mesto - Daniel Phillips/William Purvis/Richard Goode
Trio in E flat, Op.40: Finale. Allegro Con Brio - Daniel Phillips/William Purvis/Richard Goode
Trio - Hommage A Brahms: Andantino Con Tenerezza - Rolf Schulte/William Purvis/Alan Feinberg
Trio - Hommage A Brahms: Vivacissimo Molto Ritmico - Rolf Schulte/William Purvis/Alan Feinberg
Trio - Hommage A Brahms: Alla Marcia - Rolf Schulte/William Purvis/Alan Feinberg
Trio - Hommage A Brahms: Lamento Adagio - Rolf Schulte/William Purvis/Alan Feinberg

Customer Reviews:

Please, Ligeti, don't insult Brahms!.......2004-05-29

Wow. What a wonderful performance of the Brahms horn trio. If you're going to own one recording of it, this one is an excellent candidate. Never forget about the famed Lowell Greer recording of it, on the idiomatic natural horn, either. But as for this recording, one could not ask for more. The sound quality is excellent (not *quite* audiophile material but it's still digital and it sounds like a fine example of it), with perfect ambience, allowing the timbres of the three instruments to mesh very well and reverberate to a beautiful compromise between dryness and muddiness. Brahms is still Brahms, so obviously it has its dull moments (and minutes), but with writing like this, the interesting parts make it seem like this performance medium is not at all uncommon. For a companion to this piece, listen to Ethel Smyth's Concerto for Violin, Horn, and Orchestra.
The intonation here is impeccable, as one would expect from performers of this caliber, transitions are seamless, and balance is so tightly and carefully monitored that the textures of the instruments take on unimaginable qualities in some specific moments. Pianos are whisper-volume but still rich, while fortes are majestic and energetic without ever being ugly or blasty. Highly recommended.

The reason this CD gets two stars, of course, is because of the awful piece of trash that follows the Brahms. I would only recommend this to the masochistic. Perhaps this could have scraped three stars if the program order of the CD had been switched, but to deliberately place and expect buyers to endure the Ligeti after hearing the wonderful Brahms is inexcusable. To say that this piece is atonal would be like saying that perhaps a landfill isn't quite the best place to build a five-star resort. Better to smell a landfill than listen to this, though. At least you can avoid breathing through your nose while still retaining the use of your hands.
Lovers of atonal "music" (note to composers: merely scrawling notes onto a page does NOT make it music) will defend this, perhaps, by talking about exquisite form or some such nonsense. To this I say: if a beautiful sculpture is made of sewage, it's still SEWAGE. Simply put, this piece sounds awful and I cannot imagine anyone enjoying listening to it. Period.

Hommage from a great to a great!.......2001-08-11

I bought this CD because I was about to perform the Brahms trio for Horn in Eb at a summer chamber music camp in July 2001. I felt I should try to find out, "how it went", not that my piano teacher approves of that.

What tickled me was Ligeti's hommage to Brahms. Ligeti is one of the world's great contemporary classical composers. Some of his music was chosen by Stanley Kubrick for 2001, a Space Odyssey, before Ligeti became famous. In "Atmospheres" he somehow makes the string orchestra sound like electronic music. Having listened to the horn trio recently in the car, I must confess it is not one of his pieces that grabs me. Never-the-less, I'm not sure we listened to it as loud as it should have been.

Rolf Schulte is an extraordinary violinist whom I have seen perform a lot of new music. Alan Feinberg
has performed a lot of modern american piano music, and I've seen him play the difficult Messaien's Vingt Regards sur l'Enfant Jesus.

Contemporary Horn Music.......2000-06-26

It's hard to find Contemporary Horn related music, in addition, it gives you the popular Brahms Horn Trio. Great Deal!

great imaginative hommage between polar romantics.......1999-09-13

Gyorgy Ligeti indeed tests himself with this arduous trio, for an unlikely constitution of violin, horn and piano. The blend here is non-existent, yet Ligeti embarks on a new musical language one that will prove to serve him the remainder of the decade and well into the Nineties with forever growing body intriguing works as the"Violin Concerto" and the "Piano Concerto" and the 26 odd Piano Solo Etudes. This Ligeti trio has classical proportions and admirably resolves the timbral problems of the mismatched cross-bred instruments. The "first movement" exposes this timbral miscongruence, with high pinched-like tones in the horn with nasal sounding harmonics in the violin, a sublime ugliness results. The piano here is a mere visitor,simply punctuating this dialogue between the horn and the violin for the greater part of this four movement,very long work. When we get to the "second movement" the 'vivacissimo molto ritmico" Ligeti employs a running asymmetrical scale c-d-e-f-gb-ab-bb-cb, with a rhythmic pattern 3-3-2 . He also utilizes this in his"Etude #4" Fanfares" for piano solo,only with a 3-2-3 rhythm. The result anyway really "cooks" with its incessant unrelenting drive ascending. The piano's role here is very much a percussion instrument, which is necessary to colour the proceedings , but also has gentle sublime moments. The "third movement" 'alla marcia' again is a tour de force"barn-burner", another romp and bop with rhythmic jabs,syncopation,twists and turns with atonal chords displayed, pure,raw rhythm. You have devoted interpreters here to, with seasoned pianist Alan Feinberg who devotes his creativity to contemporary piano expression.The Brahms "trio" is a first in the history of music with his penchant for forever newer timbral problems to resolve,as the clarinet sonatas he wrote the latter years of his life as well as the A-minor trio Op.111 with clarinet,cello and piano.

The Voice of the Mississippi: 20 Great Songs

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The Voice of the Mississippi: 20 Great Songs

Manufacturer: Prism Platinum
ProductGroup: Music
Binding: Audio CD

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Ballad for Americans
Green Pastures
Spirituals
Paul Robeson Live at Carnegie Hall
Paul Robeson Sings "Ol' Man River" & Other Favorites

ASIN: B00000JZW6
Release Date: 1997-07-15

Tracks:

Ol' Man River
Were You There When They Crucified My Lord?
Shortnin' Bread
Swing Low, Sweet Chariot
Love Song (From Sanders of the River)
Fat Li'l Feller Wid His Mammy's Eyes
Round the Bend of the Road
Don't You Cry, My Honey
Take Me Away from the River
Mighty Lak' a Rose
Rockin' Chair
Old Kentucky Home
Piccaninny Slumber Song
My Lindy Lou
My Curley Headed Baby
Killing Song
Carry Me Back to Green Pastures
Lonesome Road
Get on Board, Little Children
Just Keepin' On

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Francisco Guerrero: Requiem
Beautifully executed, gracefully nuanced, above all, expressive
A shining blackness
Very impressive
A really important recording...

Guerrero: Requiem

Manufacturer: Glossa
ProductGroup: Music
Binding: Audio CD

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Morales en Toledo: Polifonía inédita del Códices 25, 1545-1547
Cristóbal de Morales: Assumption Mass

ASIN: B00003NHB6
Release Date: 1999-12-15

Tracks:

Missa Pro Defunctis: Processional: Quand'os Miro, Mi Dios
Missa Pro Defunctis: Introit: Requiem Aeternam
Missa Pro Defunctis: Kyrie
Missa Pro Defunctis: Collect: Deus, Qui Inter Apostolicos
Missa Pro Defunctis: Epistle
Missa Pro Defunctis: Gradual: Requiem Aeternam
Missa Pro Defunctis: Tract: Absolve, Domine
Missa Pro Defunctis: Sequence: Dies Irae
Missa Pro Defunctis: Gospel
Missa Pro Defunctis: Offertory: Domine Jesu Christe
Missa Pro Defunctis: Preface
Missa Pro Defunctis: Sanctus
Missa Pro Defunctis: Tiento Sobre Ad Dominum Cum Tribularer
Missa Pro Defunctis: Pater Noster
Missa Pro Defunctis: Agnus Dei
Missa Pro Defunctis: Communion: Luceat Eis A 5
Missa Pro Defunctis: Postcommunion
Missa Pro Defunctis: Processional: In Paradisum
Absolutio Super Tumulum: Hei Mihi, Domine
Absolutio Super Tumulum: Prayer: Non Intres In Judicium
Absolutio Super Tumulum: Responsory: Libera Me, Domine
Absolutio Super Tumulum: Kyrie
Absolutio Super Tumulum: Pater Noster
Absolutio Super Tumulum: Prayer: Deus, Qui Inter Apostolicos
Absolutio Super Tumulum: Antiphon: In Paradisum

Customer Reviews:

Francisco Guerrero: Requiem.......2007-03-25

Cristóbal de Morales: Assumption Mass

Spanish music and its history, although of globe-girdling significance, has often suffered from anglophone writers, at worst contempt and at best neglect, ever since Spain was branded the evil empire in 1588. Only in recent decades have scholars begun to correct this monumental omission. Michael Noone is becoming one of the leaders of the cause. Let me admit up front that I have known Michael for 25 years, although we have actually met only a few times during that period. Partly because I have followed his career, I was thrilled when he began issuing recordings of the music that has been the object of his devotion. Francisco Guerrero: Requiem is the second of four recordings he has done on Glossa with Richard Cheetham's Orchestra of the Renaissance (the others: Canticum Canticorum, Cristóbal de Morales-Assumption Mass, and Sebastián de Vivanco-In Manus Tuas).

One of his purposes in these recordings has been to convince the world that the combination of singers with cornett, shawms, sackbuts, dulcian, organ, and harp that is described in the records actually works. He proves it, in spades! The performances on these recordings are among the most musical interpretations of sixteenth-century polyphony I have ever heard. Given the limitation that it is all sacred music, the mood, style, and instrumentation show great variety: vocal, instrumental, polyphony, chant, ensemble, solo. The Guerrero Requiem (and the Assumption Mass) are liturgical reconstructions of scholarly precision, while the other two recordings are anthologies. All are superbly performed and definitively refute scoffers who assert that this music or these instruments cannot be performed to modern standards. The performances include spare, stark Gregorian chant as well as rich, voluptuous polyphony. The shaping of musical lines, timbre, and intonation are exquisitely refined. Tempos are beautifully controlled and absolutely convincing. These performances combine consummate musicianship with meticulous musicology, evident in the use of instrumentation described in local period documents and local Gregorian chant, not to mention the fact that Michael Noone has transcribed this music and done the archival research himself. His soup-to-nuts productions are archetypal illustrations of what can be achieved by the combination of excellent scholarship and exemplary musicianship. This is also evident in the exceptionally clear and informative program notes.

Michael Noone's sumptuous recordings of Spanish Renaissance Music should grace the shelves of every audiophile. I have bought them all, and these days, I find myself listening to little else!

Beautifully executed, gracefully nuanced, above all, expressive.......2006-09-06

This recording is important not just for making an unknown masterpiece available once again, but for the perfection of the performance and the attention to musical and historical detail. The voices are supported by an instrumental ensemble woven so well into the vocal texture as to become part and parcel of the performance, rather than simply backing up or coloring the polyphony. The phrases are carefully shaped and the diction crystal clear. No 'high' voices are present (no sopranos are called for in the score) and it would be easy for the vocal texture (ATTB) to become very dense and weighty, but Noone and his performers never let this happen. Each line is clearly sung/played and parts emerge from the texture at the appropriate moments.
With the exception of Victoria, many composers from the Spanish Renaissance remain unknown or at best, under-appreciated in the USA. Hopefully this fine performance will encourage many to seek out more music of this great 16th century master, along with that of his fine compatriots.

A shining blackness.......2004-12-20

Guerrero, a very important but nowadays unfortunately neglected figure in the XVI. century "international" music, wrote a very impressive, ruthless, anthracian "service" what we may call "Requiem". The cover with its plain and suggestive manner also reflects the profound understanding of the work.

The performance is superb. Musically and electronically. Listen to it regularly.

Very impressive.......2000-10-09

I bought this CD after hearing this group's fabulous reconstruction of Cordoba Vespers. Again, I am very impressed. This again is a reconstruction - this time of the Requiem Mass as it might have been performed in Seville Cathedral to honor Guerrero's death in 1599. Guerrero, whose own 1582 Requiem mass forms the backbone of the instant recording, was a native of Seville, but his music was well known as far as Mexico, Guatemala and Chile. In fact, during his life, Guerrero may have been the most celebrated Spanish composer. The reconstruction of the funeral service here is very convincing. It begins with an instrumental processional, performed on sackbutts, shawms and cornetts, wonderfully accentuated by drums. The main body of the mass unfolds in a well-integrated sequence of solo and choral plainchant (drawn from contemporary Spanish sources) and polyphonic movements elaborating on the plainchant, accompanied by either a solo dulcian, or a consort of wind instruments which frequently double solo voices in a very characteristic manner of the age. The mass ends with a plainchant antiphon In paradisum fading beautifully into the distance as the imaginary funeral procession leaves the church. The singing is superb. Special mention goes to Josep Cabre and Simon Davies as plainchant soloists, who do such a wonderful job of binding professionally-written polyphonic movements with their anonymous liturgical roots.

A really important recording..........2000-06-17

I read somewhere after I had become aware of this recording that it was a Requiem FOR Francisco Guerrero, and I was thrown because I thought it was a reqiuem BY Guerrero. It turns out to be both, actually. Guerrero's own setting of the Requiem mass was evidently the one used at his own funeral (in 1599). The service was celebrated at the cathedral in Seville, a venue which is significant for more than one reason. Seville was, firstly, a cultural center of Spain (and of Europe, really). It was Spain's principal port city, so cultural development was bound to be constant. Its cathedral was one of the largest in Spain and was the site of frequent lavish ceremonies of many kinds. The second reason that the Seville cathedral is significant is its connection to Guerrero. Born in Seville, he was variously a member of the cathedral choir, assistant to the chapelmaster, and later chapelmaster himself (and, hence, a priest).

There is, obviously, a lot of history behind this recording; that sense of history is what you might call the "mission" of the Orchestra of the Renaissance. They aim, among other things, to bring attention to the historical role of instruments in Renaissance vocal music (and, incidentally, Seville was known for its instrumental "ensemble" of sorts). That sense of history naturally leads to a performance practice which focuses on placing music in its historical context.

So, then, for the purpose of context there is a variety of music besides just Guerrero's mass. There is a Guerrero motet, one by Josquin, an organ piece by Cabezon, instrumental processionals by Esquivel and Guerrero, and an ample amount of plainchant (in the form of graduals, prayers, lessons, antiphons, etc.). This method of presenting the mass (with materials which would be used in a service) not only makes for a good deal of variety (hence a more enjoyable listen) but is quite welcome, to me at least, on a artistic level (especially for this music, highly religious as it is).

Guerrero was considered, during his lifetime, to be one of the best (if not THE best) composers of the period. His music is of the greatest profundity: in the great Spanish tradition it is, firstly, sober - the famous "Spanish gloom" (intense spiritual expression) is present here. It is also very subtle (emotion is abundant, but the music is not superficial). This Requiem bears some comparison to that of Victoria, but it is better compared, I think, to another spanish composer - Morales (although he's much less familiar than Victoria). The other music is all of the same restrained expressive quality which makes for such a rewarding experience. The range of feeling is broad - from anxiety about death to penitence for sinfulness to, ultimately, hope of eternal life (heard in the Agnus Dei, which is especially beautiful).

The acoustic is good - very warm,and reverberant enough - so that from the opening notes you are swept into the music. It serves to set the proper mood for the program. The instrumental sound is very pleasing - it is (to use a phrase which is admittedly inaccurate, but hopefully descriptive) very Spanish. What I mean is that, since there is no brass to lend brightness, the sound produced is rich and dark (which means, obviously, that it sits quite nicely alongside Guerrero's music ); it is effective both in passages exclusively for instruments and in vocal passages which employ the instruments to double parts. The players are obviously skilled. The choral sound is good as well. The sounds produced by each of the parts is very nice (the tones are "standardized", but still warm). Overall, the texture of the sound is very clean and smooth (and colorful). The group's balance is good - the parts can all be heard independently (with the exception of one of the tenor parts in a few places - but that's unavoidable, I guess). Dynamics are good (both the overall volume and the sense of the lines specific to each part), as are tempi (moderate, a little quick in places, but generally unhurried). What that all means, though, more importantly, is that they really capture the spirit of the music - the group appears to be caught up in it (as you will be) and as a result the music really speaks. The decision to double the vocal parts with instruments is, as I said before, quite important to the approach taken by the Orchestra of the Renaissance - I don't know much about its historical validity (I'm sure there's good reason to do it) but it is quite effective here; even if it's not your particular taste it certainly doesn't detract from the overall "vocal" sound.

There are obvious comparisons to be made with similar recordings by Paul McCreesh and the Gabrieli Consort (most prominently both employ all male choirs with instrumental support). None of the material overlaps with any recorded by McCreesh, but if you've heard any of his recordings I can speak to the relative sound of his choir with this one. I prefer the sound on this recording - it is cleaner and smoother (although McCreesh undeniably has a certain advantage in terms of sonic power); that quality is appreciated everywhere but most of all in the chant passages, which in this recording are really very good. I also think that this choir has slightly more focus and balance that McCreesh's - all that to say that if you're familiar with the approach the Gabrieli Consort takes to the music it performs, there's more of the same good stuff to be found on this Guerrero recording.

This disc was a Gramophone editor's pick back in about May (I think), but as of my writing this the article has not appeard on their website. The review had a lot of praise for this recording (so you don't have to rely only on me).

Amazon.com

Here's nearly two and a half hours of unadulterated listening pleasure. The chamber output of Frenchman Francis Poulenc (1899-1963) spans some four decades and more, from the tartly modernist cavortings of the very Stravinskian Sonata for Two Clarinets (1918), via the insouciant charms of both the Trio for oboe, bassoon, and piano (his first big chamber success from 1926) and Sextet (1932-9) as well as the substantial, deeply felt wartime sonatas for violin and cello, to the three sonatas for woodwind he penned in his twilight years (including the deliciously tuneful, deservedly popular Flute Sonata of 1957). There's a healthy sprinkling of comparative rarities too, not least the poignant little Sarabande for solo guitar (1960) as well as the even briefer, haunting Villanelle (1938) for piccolo and piano. Not only do the members of the Nash Ensemble bring an abundant technical flair to everything they survey, they also don't miss out on that peculiar mix of the frothy, madcap, and sublime that are such trademarks of Poulenc's inimitable mode of expression. The year 1999, this composer's centenary year, furnished no more rewarding haul than this immaculately produced Hyperion anthology, which must receive the heartiest of welcomes. --Andrew Achenbach

Customer Reviews:

I love this CD set.......2000-02-10

I bought this because Joshua Kosman (an SF Chronicle music critic) highly recommended it. As with every Hyperion CD I've bought it is wonderfully done in every detail, even down to the cover art. In his review Mr. Kosman cautioned that this is not profound music, just fun stuff, beautifully played by the Nash Ensemble, and enjoyable to listen to. He is, as usual, 100% correct.

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Silence & Music

Manufacturer: Gothic Records
ProductGroup: Music
Binding: Audio CD

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Harvest Home

ASIN: B000003J93
Release Date: 1994-03-22

Tracks:

Adam Lay In Bondage
Drop, Down Dew, O Heavens
Hodie Christus Natus Est
Joys Seven
It Is A Thing Most Wonderful
The Blue Bird
Silence And Music
Thee Will I Love
Morning Glory, Starlit Sky
Antiphon
Out Of The Deep
Non Vos Relinquam Orphanos
Cantie Tuba
Versa Est In Luctum
Ubi Caritas
Crux Fidelis
Love Bade Me Welcome
Let The Peoples Praise You, O God
Prayer Of The Venerable Bede
Blessed Are The Pure In Heart
Jubilate Deo

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Morton Feldman: The Viola In My Life

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Morton Feldman: Rothko Chapel; Why Patterns?
Morton Feldman Says: Selected Interviews and Lectures 1964-1987 (New Series)
Morton Feldman: Piano and String Quartet / Aki Takahashi, Kronos Quartet
Morton Feldman: Complete Violin|Viola and Piano Works / Christina Fong, Paul Hersey
Feldman: String Quartet (1979)

ASIN: B000J0ZPDS
Release Date: 2006-11-01

Tracks:

The Viola in My Life (1970): Part I 12:08
The Viola in My Life (1970): Part II 9:49
The Viola in My Life (1970): Part III 6:01
False Relationships and the Extended Ending (1968) 16:02
Why Patterns? (1978) 30:27

Product Description

The music on this recording illustrates the essential integrity of the work of Morton Feldman and one of its fundamental strengths--its continuously unfolding unanimity of purpose. There are few composers of his generation whose first and last published work (in Feldman's case Journey to the End of Night of 1949 and Piano and String Quartet of 1986) span youth and final years with such a concentrated viewpoint. There are, however, landmarks in the music of Feldman that are largely technical and notational. There are the graphic pieces, the first from 150 and the last from 1964, in which some parameter of composition is not specified (often pitch). Thee are the "free duration pieces," both solo and ensemble, in which there is instruction either for sections of the piece or for its entirety. False Relationships and the Extednded Ending (1968) is a late example of this kind, although Why Patterns? (1978) is a variant of the principle. Thee are also the conventionally notated works in his oeuvre, one of which is The Viola in My Life. It may be that Feldman's music will always strike a certain kind of listener as idiosyncratic--adenial of the time-honored ways in which music articulates itself. I think that Feldman was deeply offended by this response, by this notion that his music was singular because it was, as some might say, "missing something." Though it is true that his values of graduation can be exceedingly fine, when one enters this scale and comprehends it, something truly new and wonderful opens up in the art of music--a wold in which the relative and absolute become engaged with themselves. (This recording was orginally issued as CRI CD 620)

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Pastime With Good Company
A delight and a treat

Pavane

Manufacturer: Gourd Music
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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The Fairie Round
The Butterfly
Wondrous Love
Celtic Woman

ASIN: B000005C35
Release Date: 2001-08-14

Tracks:

The Faerie Queene
Sumer is icumen in
Sicilienne
Pavane and Galliard
Salley Gardens
Jenny Pluck Pears
Rondes
The King of Denmark's Galliard/ Mrs. Winter's Jump
Vals
Trio
The Nightingale/Cats Caper
The Laydie Louthian's Lilte/Courante
The Parting Glass

Album Description

Here is the captivating sequel to The Fairie Round - and Shelley Phillips once again dazzles the ears with her work on oboe, harp, English horn, recorders and pennywhistle. With her talented friends including Barry Phillips, William Coulter, special guests Linda Waterfall and Harris Moore, and others, on guitar, cello, flute and more, she presents enchanting instrumental arrangements of folk, traditional, classical and contemporary music from England, Wales, Ireland, Scotland and Brittany. Indie Award (AFIM) nominee 1995.

Elizabethan songs (When Laura Smiles, It Was a Lover and His Lasse), Renaissance dances (Pavane and Galliard, Courante), traditional Celtic airs (Sally Gardens, The Faerie Queene, The Parting Glass) and Breton rondes are among the delights you'll discover on this charming album by one of Gourd's favorite artists.

Customer Reviews:

Pastime With Good Company.......2004-06-29

Shelley Phillips credentials are quite remarkable. She plays harp, recorders, oboe, English horn, and whistle. Not just to dabble, but very well indeed. She is a member of several consorts, appears on an armload of recordings, and directs the Santa Cruz Community Music School. Whew!! And if you take the time to read the liner notes on this album (my favorite) wou will discover she has a far roving ear and eye, and despite a strong fondness for celtic work, is quite capable of performing Faure, Ralph Vaughan Williams, and a few friends as well.

Her chief accompanist is Barry Phillips, who plays enough instruments to make an ensemble between the two. But the cast includes many others, including an appearance by William Coulter. Seriously, if the music making on this album does not satisfy you, there is nothing to be done for it. Phillips wavers back and forth between original instruments and some fairly daring arrangements. Which makes the albums more than just an idle pastime.

Frankly though, this is light music - no distressing airs permitted. Much dance music, and a few things that very well could be. A sunny spirited album that reminds us that our ancestors knew how to have a good time. This is the kind of thing that we used to get together in college and rattle out on the back steps and stairwell. Not so well played (well, some of us played well) but in the spirit of entertainment and edification.

The last thing I expected when starting this review is that I would have an attack of nostalgia, but there it is. Phillips has a knack of drawing out the nature of the music rather than producing academic performances, and avoiding over production as well. This is extremely accessible work - buy all means give it a listen.

A delight and a treat.......1998-10-09

The very talented musician Shelley Phillips delivers a consistently wonderful offering of traditional instrumental tunes, most of Celtic and European origin. She is one of the extremely talented group of musicians who comprise groups like Orison and Northern Lights, and all of their work is a musical feast. This is no exception. A CD to be treasured and listened to often.

A Lonesome Road - Paul Robeson sings spirituals and songs

Average customer rating:

Robeson at his best

A Lonesome Road - Paul Robeson sings spirituals and songs

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

Traditional Blues | Blues | Styles | Music

Gospel | Christian & Gospel | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Singer-Songwriters | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Traditional Pop | Oldies | Pop | Styles | Music

General | Soul | R&B | Styles | Music

General | Soundtracks | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

Vocal Jazz | Jazz | Indie Music | Stores | Music

Traditional & Vocal Pop | Pop | Indie Music | Stores | Music
Similar Items:

Green Pastures
Paul Robeson Live at Carnegie Hall

ASIN: B000001HFH
Release Date: 1994-04-20

Tracks:

Ol' Man River
My Curly Headed Baby
Water Boy
I'm Goin' To Tell God All O' My Troubles
Oh! Didn't It Rain
Little Pal
There's No Hiding Place
Poor Old Joe
Scandalize My Name
Ezekiel Saw The Wheel
Sinner, Please Don't Let This Harvest Pass
Just Keepin' On
Mah Lindy Lou
Steal Away
Mighty Lak' A Rose
Deep River
Hear The Lambs A-Cryin'
Get On Board, Little Children
Old Folks At Home (Swanee River)
Witness
Oh! Rock Me, Julie
Li'L Gal
I Got A Home In That Rock
Lonesome Road

Customer Reviews:

Robeson at his best.......2001-03-24

This album consists of recordings Paul Robeson made in Britain durong the 1920s. He is accompanied by the great pianist Lawrence Brown or by a small orchestra led by Ray Noble. The songs on this disc are spirituals or pop songs of the era, and Robeson shines on every one of them. Robeson has an uncanny ability to make any song his own property, and this is especially true on his version of "Little Pal" - originally a saccharine semi-racist ballad written for Al Jolson. Robeson turns the song into a searing lament of an estranged father, and makes the song valid even today with his urgent, committed delivery. The majority of the songs on the cd are spirituals, and Robeson's versions are definitive in every sense of the word. All in all, there isn't a bad track here, and as an introduction to Robeson's work the record is priceless. The only aspect worth criticizing is the fact that the liner notes seem to shy away from the fact that Robeson was the first important black artist to actively fight for civil rights. The music here, however, is extremely beautiful.

Average customer rating:

Lute Music: Rosamund

Manufacturer: Eroica Classical Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000040OEK
Release Date: 1999-12-15

Tracks:

Anonoymous: Almain
John Dowland: Galliard, Robin
Anthony de Countie: Pavyn
Anonymous: Fansie
Sedit Sola: Pavan
Anthony Holborne, Galliard, Fairy Rownde
Anonymous: New Almaine
Philip Rosseter: Galliard, Mrs. Taylor's
Alfonso Ferrabosco: Fantasia
Alfonso Ferrabosco: Jigg
John Daniel: Pavan, Rosamund
William Byrd: Galliard
Anonymous: Fantasia
Francis Cutting: Pavan
Francis Cutting: Galliard
Peter Phillips: Fantasia
John Marchant: Galliard, Walsingham
Anonymous: Pavan, Ann Markham's
Daniel Bacheler: Galliard
F. Edgar Gilbert: Miserere a 3
F. Edgar Gilbert: Almaine, Victoria's
F. Edgar Gilbert: Fancy, Mrs, Lees'

Album Description

This CD by Eroica artist F. Edgar Gilbert is a definitive collection and performance of lute music from the English school of the Renaissance and the French school of the Transitional and Baroque epochs. Its soothing, healing and meditative qualities are a welcomed respite from the frenzied hue and cry and hype of ordinary living. Gilbert's equisite performances evoke sunrises and sunsets, the perfume of gardens and the caress of cool ocean breezes, all of it as enriching and inspirational as it is restful, and all of it in a setting of calming, enriching music that forever heals and restores us.