Music Da Camera

1. Fantasie for flute & harp
Composed by Allen Brings
with Lisa Hansen , Susan Jolles

2. Fantasy Piece for piano four-hands
Composed by Allen Brings
with Donald Pirone , Morey Ritt

3. Chimeric Fantasy for alto saxophone, cello & piano
Composed by Allen Brings
with Allen Brings , Leo Grinhauz , Cynthia Sikes

4. Sonata da Chiesa for solo violoncello
Composed by Allen Brings
with Alexander Kouguell

5. Trio for violin, viola & cello
Composed by Allen Brings
with Liuh-Wen Ting , Wolfram Koessel , Sebu Sirinian , Meridian String Quartet (members of)

Tracks:

Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Andante
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Largo Andante
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Allegro
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Menuetto & Trio: Vivace
Duet For Violin & Cello In D Major: Poco Adagio
Duet For Violin & Cello In D Major: Tempo di Menuetto
Duet For Violin & Cello In D Major: Allegro (non troppo)
Eight Pieces For Violin And Cello: Tuning & Gavotte
Eight Pieces For Violin And Cello: Two Menuets
Eight Pieces For Violin And Cello: Air
Eight Pieces For Violin And Cello: Menuet With 2 Variations
Eight Pieces For Violin And Cello: Impertinence
Eight Pieces For Violin And Cello: Sarabande
Eight Pieces For Violin And Cello: Menuet With 2 Variations
Eight Pieces For Violin And Cello: Air
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Andante
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Allegro
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Aria with 3 Variations
Sonata For Violin & Cello In D Major: Allegretto Spiritoso
Sonata For Violin & Cello In D Major: Vivace
Sonata For Violin & Cello In D Major: Grave
Sonata For Violin & Cello In D Major: Allegro Assai
Sonata In D Minor For 2 Violins & Basso Continuo: Andante Molto Cantabile
Sonata In D Minor For 2 Violins & Basso Continuo: Allegro
Sonata In D Minor For 2 Violins & Basso Continuo: Andante Pastorale
Sonata In D Minor For 2 Violins & Basso Continuo: Allegro

Customer Reviews:

Wonderful and delightful evenings.......2007-06-27

If you are a really follower of Jack Aubrey adventures you must have the 2 Volumes. The best companion for you reading every evenings. A must have.
Enjoy it.

Great Music.......2007-04-05

I bought this as an accompaniment while I read Patrick O'Brian's Aubrey-Maturin series of books, and it goes very well. I've enjoyed every piece on this album, and recommend it for music lovers and readers alike.

excellent compile.......2007-01-16

It is dead-on excellent. Perfectly in tune with the entire series and spirit of Patrick's work. A simply joy to listen to time after time. You grasp the character of the age in crisply performed versions of various collection.

Pleasant backdrop .......2006-01-10

As a child growing up in the city of Salem, known for it's working class backbone, I was the only kid I knew who had been to Symphony Hall more than Fenway Park. Going in to Boston for the symphony's open practices was what I lived for. It gave me a true appreciative, although untrained ear. The one lasting lesson is that while you may not notice good classical music, EVERYONE notices bad classical music. And this is NOT bad classical.

I have been a reader of the Aubrey Maturin Novels for 8 years (only two a year for dramatic suspense) and while I am a huge fan of Patrick O'Brian's writing, I find that with the addition of the music he scored his work to, I stand in awe. The music is well grounded to the situations and feelings in the book. Either Mr. O'Brian was a very well rounded, or he did his homework.

The CD is a wonderful insight to the author, and the characters he created. Pour a glass of claret, listen to the cd, read the books...

but pay no heed to Killick's "scrape, scrape , scrape..never a song you could dance to.."

Musical soothing of the soul.......2002-06-11

I have been a fan of Baroque music since childhood (and I'm not all that old either). But I've only started reading the Patrick O'Brian books in the last few months, since it was announced that my favorite actor, Russell Crowe, was about to star as Captain Jack Aubrey in the Peter Weir movie. I am reading the books in order, and am currently on "HMS Surprise," so what else could be a more perfect accompaniment than this CD? Aubrey is such a multi-layered character, filled with imperfections and bad puns, however he has a great love for music and he plays the violin quite well. Often paired with ship's surgeon Dr. Stephen Maturin on the cello, music is a great release for this sea captain, and the pieces on this CD are fine representations of what Aubrey might have played while on assignment or heard when on land. The selections by Hadyn, Locatelli, Handel, Boccherini and Leclair are pleasant, soothing compositions that are complex and varied enough that they are not redundant, and range from peaceful to nimble. While listening to the CD, I could vividly imagine Jack Aubrey below decks in his cabin and asking Maturin to strike up a tune with him. And then they begin an Andante or an Allegro, allowing Aubrey to set aside his absolutely awful puns and jokes so he can clear his mind and relax. Considering some of the battles he's involved himself in so far in the series, he definitely needs it. Reading his adventures while listening to these charming pieces will relax you as well, and definitely take your imagination to some wondrous places in an era of great change.

Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini)

Average customer rating:

Lovely rendition of Italian songs
Best 'Italian' Selection yet.
Salon pieces to delight the listener
The Italian Songbook......
che bella..

Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs
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Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet
Cecilia Bartoli - Chant d'amour (Mélodies française) / Myung-Whung Chung

ASIN: B0000042H2
Release Date: 1997-09-16

Tracks:

Bel Canto Songs: Aragonese
Bel Canto Songs: Vaga luna che inargenti
Bel Canto Songs: II barcaiolo
Bel Canto Songs: Ah! rammenta, o bella Irene
Bel Canto Songs: L'abbandono
Bel Canto Songs: Or che di fiori adorno
Bel Canto Songs: Malinconia, ninfa gentile
Bel Canto Songs: Amore e morte
Bel Canto Songs: Bolero
Bel Canto Songs: La conocchia
Bel Canto Songs: II fervido desiderio
Bel Canto Songs: Torna, vezzosa Fillide
Bel Canto Songs: Vanne, o rosa fortunata
Bel Canto Songs: Dolente immagine di Fille mia
Bel Canto Songs: La farfalletta
Bel Canto Songs: A ma belle mere
Bel Canto Songs: Per pieta, bell'idol mio
Bel Canto Songs: Me voglio fa 'na casa
Bel Canto Songs: L'esule
Bel Canto Songs: La danza (tarantella napoletana)

Amazon.com

The Italian mezzo-soprano Cecilia Bartoli is one of the most charming and talented singers to appear on the scene in recent years, and this collection of Italian songs by three great opera composers--Bellini, Donizetti, and Rossini--is a most deserving bestseller. There are many small pleasures in the selections, which reflect the bel canto predilections of their authors, and Bartoli renders them artfully. Some will be familiar even to casual listeners (Rossini's La Danza, the famous tarantella); others will be new to most, but equally deserving of a hearing. The sensitive and skillful accompaniment is by conductor-pianist James Levine. --Sarah Bryan Miller

Customer Reviews:

Lovely rendition of Italian songs.......2007-03-11

The booklet coming with the CD says of Cecilia Bartoli that she "is justly famous for her coloratura mezzo-soprano voice and her interpretations of Rossini and Mozart." This CD features her lush voice taking on songs of three great Bel Canto composers--Rossini, Bellini, and Donizetti. Some might think of these as trifles, but the singing and musicality is rich and the songs evocative. The piano accompaniment is by famed conductor James Levine, and he does a splendid job.

Some sampling of the songs. . . . The CD begins with a song by Rossini, "Aragones." This is lushly sung; Bartoli has a wondrously rich and textured voice. The pace is contemplative, altogether consistent with the words of the song, the reflection of a disappointed lover. Well done.

Donizetti's "Il barcaiolo" is also well done. Bartoli shows her vocal agility in this tune. This is a spirited song, and her coloratura technique animates her rendition. There are segments sung forte, showing the power of her voice. There is a nice soft closing to the song, so she ranges from forte to piano.

Bellini is represented, too. His "Vaga luna che inargenti" is a pleasant love song. Bartoli sings this tenderly, creating a melancholy spirit, fitting the song's words.

To close, there is Rossini's wonderful tarantella, "La danza." Levine plays at a quick pace, as he must for this spirited song. Bartoli shows great vocal agility and strong breath control (this is a tough song to get right!). A wonderfully spirited version. She even takes a pass at a trill toward the close. All in all, most satisfying.

Thus, this represents a nice CD, showing Bartoli's skills with the songs of some of the great Bel Canto composers. An album that is a lot of fun to listen to!

Best 'Italian' Selection yet........2006-06-16

'An Italian Songbook' by mezzo-soprano Cecilia Bartoli and accompaniest extraordinare, James Levine is the best of the three collections of Italian material from Bartoli I have reviewed to date. Much of this may be due to Levine, but I believe it is more due to the quality of the material selected. All songs are by 'heaviweights Vincenzo Belline, Gaetano Donizetti, and Gioachino Rossini. It is certainly not due to a difference in the quality of Ms. Bartoli's singing, which is uniformly beautiful throughout.

This would be my first choice for Italian material with only piano accompaniment. For a very first Bartoli album, see her 'flagship' recording, 'Cecilia Bartoli' where she is backed by full orchestra and chorus.

Salon pieces to delight the listener.......2006-03-13

Italian art song never became the serious and high form of art that it did within Germany, and hasn't the same place in culture that the French mélodies had. Rather, Italian operatic composers wrote lighter vocal pieces with fairly simple piano accompaniment, designed to be performed in a more intimate setting. One hears immediately the Bellini line (so familiar to those who love Bellini's operas) in his songs - ditto with the Donizetti and Rossini songs.

This in no way robs the songs of immense charm. It would be easy to perform these songs without a great deal of thought, simply making them sound "pretty". But Cecilia Bartoli never does that - she always gives everything, voice, intelligence, musicality, to her performance.

That is what makes this recording so superb. I can see there are some less-than-satisfied reviewers - I am surprised by the comments. For rest assured, there is no vocal difficulty here at all. Cecilia Bartoli's voice is in superb condition throughout, and her interpretation is of course second to none. Having recorded "Vaga luna" myself, I would be the first to say if I thought anything was lacking in Ms Bartoli's performance - but there's nothing adverse I can say at all. It's simply gorgeous singing, with immaculate phrasing, an intensely personal approach, and some of the most beautiful sounds you're likely to hear.

It is hard to imagine anyone being disappointed by this recording. The comments made about squally sound are not just unfair, they're totally inaccurate. I remember purchasing this CD on the very day it was released in Australia, and it's a firm favourite of mine.

In all... delightful.

The Italian Songbook.............2005-12-09

...........sung like a string of pearls. I have never heard "Vaga luna che inargenti" sung so beautifully radiant and lucid. What a contrast when listening to her mournful "L'abbandono" where she sounds so utterly sad and full of melancholy. Brilliant vocal colouring here. "Malincolia, ninfa gentile" is sung with the appropriate pathos but without gimmicks and tricks. Utterly gorgeous Bellinian line. "II fervido desiderio" is sung with just the right amount of yearning and passion. "Per pieta, bell'idol mio" finds her beautifully charming and endearing, who could say no to her? The closing piece, "La Danza" is a tasty little song that suits her to a T. In my humble opinion every young voice student should not only study the Italian Songbook but own this in order to hear how it's done. This is still my favourite Bartoli album.

che bella.........2004-12-23

Cecilia Bartolia is such a refreshing singer in the current state of vocal affairs. For one thing, she is a serious student of the music she sings, and scorns all the 'popera' and crossover artists. She has sought out plenty of unknown/lesser known material to record (Salieri, Vivaldi, Gluck, etc). In the CD in question she does wonderful work with these Italian pezzi. Her voice is now dark, now breathy, now intense, always altered to reflect the words she is singing. Her vocal agility and control are simply remarkable. Pay no attention to the Bartoli nay-sayers, she is a first rate singer.

Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet

Average customer rating:

Buy two and give one to someone you love!
A joyful sample of the human voice.
A sheer delight from start to finish
Exquisite
Cecilia Live

Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet
George Frideric Handel , Antonio Vivaldi , Giulio Caccini , Wolfgang Amadeus Mozart , Franz Schubert , Pauline Viardot , Hector Berlioz , Vincenzo Bellini , Gaetano Donizetti , Gioachino Rossini , Umberto Giordano , Xavier Montsalvatge , Georges Bizet , Sonatori de la Gioiosa Marca , Cecilia Bartoli , and Jean-Yves Thibaudet
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs

ASIN: B00000DBTM
Release Date: 1998-10-20

Tracks:

Tu ch'hai le penne, Amore
Amarilli
Al fonte, al prato
Lascia la spina
Agitata da due venti
Oiseaux, si tous les ans, K. 307
La Pastorella, D 528
Havanaise
Hai luli!
Zaide
Malinconia, ninfa gentile
Ma rendi pur contento
La conocchia
Me voglio fa 'na casa
Mi lagnero tacendo
Mi lagnero tacendo (Il Risentimento)
Mi lagnero tacendo (Sorzico)
L' Orpheline du Tyrol
Riedi al soglio (Zelmira)
Le nozze di Figaro: Voi che sapete
Canzonetta Spagnuola
Caro mio ben
Cinco Canciones negras, No. 5: Canto negro
Carmen: Seguedille (Carmen)

Amazon.com essential recording

In the beginning, Cecilia Bartoli seemed to do one thing better than anybody, i.e., Rossini arias, which would not guarantee a long career even for a singer of her ebullience. This live performance from the Teatro Olympico in Vincenza, Italy, shows how much she's expanded, both linguistically and musically. The first five selections reflect her newfound specialty, early opera. The three Caccini selections from the 17th century--accompanied by small string ensemble--are deeply felt and stylistically convincing enough to make one eager for future forays. She's guilty of spinning out Handel's "Lascia la spina" excessively but hits new heights of virtuosity in Vivaldi's "Agitata da due venti." The rest of the disc is for voice and piano, in a program including both some genuine discoveries by French composer Pauline Viardot-Garcia that reveal the singer's increasing emotional depths and less consequential ones by Donizetti and Rossini. Bartoli also sings Spanish songs, most notably Montsalvatge's "Canto negro," proving that the singer doesn't venture into a new language until she can truly feel in it. Remarkably, her voice maintains its strength and body in the deeper, mezzo-ish regions as well as in the high, soprano-range areas. Might she have two voices? --David Patrick Stearns

Customer Reviews:

Buy two and give one to someone you love!.......2007-03-08

(That way, you can get free shipping!) Or, buy Opera Proibita also.

If you think you don't like listening to soprano soloists, you should buy this CD. I must say that I HATE listening to solo singing in general and soprano solo in particular! Well, this lady has stolen my heart! If you see her anywhere on the N American continent, please tell me.

The one-minute limit for listening on-line will simply not allow you to make a judgement. If I could legally allow you to hear track 5 "Griselda - Agitata da Due Venti" (Vivaldi), you would buy the CD without hearing anything else.

When I first heard Cecilia Bartoli on "Performance Today", the subject was "Opera Proibita" and I wrote to a friend who teaches voice at a local college and asked "Is she as good as I think, or am I just overreacting?" His simple response was "She's THAT good!"

This CD is of a live performance and you won't be disappointed except to realize that you COULD have been there, but weren't!

If she ever performs where I am able to see her, I'll be there. If I can talk to her, I will -- but I won't ask for my heart.

Highly recommended!

A joyful sample of the human voice........2006-06-12

'Live in Italy' by mezzo-soprano Cecilia Bartoli, accompanied by pianist Jean-Yves Thibaudet is, for those of us who do not know Italian and are not avid opera fans, a simply delightful essay in the beauty of the human voice. I am really happy this is not the first Bartoli album I have bought, as others, such as her recordings of French and Italian love songs have more substance to offer (if you don't know the operas from which these pieces are taken) but this recording, with its live ambiance, is a great pleasure all by itself, a very nice change from the somewhat frostier Fraulain Von Otter from the northern climes.

A sheer delight from start to finish.......2005-07-14

Although I rarely follow singers, even I am totally disarmed by Cecilia's magic spell of charm that criticism fails me. You will see that most of my reviews of music are about modern or Renaissance music, so for me to go out and lavish praise on her is really something totally out of the ordinary. Then again her singing is out of the ordinary in that it has an instantly recognisable warmth and captivating personality that makes her the outstanding singer of the current generation for me.

I have been impressed by Cecilia's tendency to avoid the well worn paths of 19th century Italian operas in favour of championing neglected earlier music whether that be Vivaldi, Haydn, or Salieri. She has always talked about how the centre of gravity of Western music seems to be shifting backwards in time, and in her case this means away from the Austro-German tradition to the time when the Italians dominated music. After all the musical elite of even Wagner's time could be still be heard muttering 'but he just isn't as good as those Italian...' at premiers of works such as Tannhäuser and it took a lot of convincing before the the idea of German opera became accepted. This shift backward in time here is exemplified by way the recital begins with the music of Caccini, the father of opera.

Here on this recording I particularly love the spontaneity of the live music making. Her ability to capture the declamatory nature of much older music such as with Caccini, Vivaldi and Handel suite live recording perfectly. Her manner of conveying the meaning of the words especially when singing in Italian is simply unrivalled in this situation. This is the sort of thing that all too often gets lost in studio recordings so it is a blessing that this is a live recording, where Cecilia seems to just glow. The spontaneity, the sheer magic of the moment - it is all a sheer delight from start to finish. At moments her voice seems so etheral, the hushed and rapt awe of the music making so breathtaking, that it simply beggers belief that the human voice can be so beautiful an instrument. This is what great music making should be all about.

As far as the recording itself goes I have never noticed any disturbing audience noises anywhere even on my system which tends to makes the slightest of rustling blatantly obvious. The recording engineers do an excellent job of capturing the ambience of the acoustic of the Teatro Olimpico in Vincenzo despite the presence of the audience.

A stunning recording and an absolute favourite to relax to or just to be inspired by.

Exquisite.......2003-01-31

"Her natural command of messa di voce phrasing, willingness to shade the voice away to the quietest pianissimo and acute sensitivity to the words of Caccini's love songs proved irresistible, attracting a generous mix of applause and foot stamping."

Such was the appreciation from the audience that the director had to request that the audience not stamp their feet as they would set off the alarm system.

There are hardly words to describe Cecilia Bartoli's remarkable vocal qualities, emotional range and warmth. When I listen to this CD, I am calmed completely. There is an element of comfort in her style. Maybe one could explain it as a lullaby for the soul.

She has the ability to support the longest of phrases on the back of a single breath all while varying the tone color and dynamic level. Singing seems as effortless as breathing as she becomes emotion all while capturing the drama and mood.

In this live performance from the Teatro Olympico in Vincenza, Italy, she performs each piece as if she is intimately entwined with the notes. How can music be this sensual and this comforting all at once? It just is. She can express a wide range of emotions, from profound despair to extreme joy.

The Teatro Olimpico is the worlds' oldest surviving covered theatre. It has fine acoustics, a sky-blue ceiling and marble. Cecilia Bartoli wanted to perform in one of the great treasures of Italy's cultural heritage and this led to this live performance with concert pianist Jean-Yves Thibaudet who seems to sense every emotion in Cecilia's voice. It is a sublime combination of talent which is further enhanced by violins, viola, cello, violone, archlute and harpsichord.

Tu ch'hai le penne, Amore - A song to love asking love to fly to where the heart lies and to promise that his heart and soul were ever hers.

Amarilli - Delicate and beautiful expression of true love.

Al fonte, al prato - You can feel spring approaching and this song has a certain energy Cecilia embraces as she sings away troubles and sadness to allow in merriment.

Lascia la spina - Melancholy. "Old age will creep up on you when your heart does not expect it."

Agitata da due venti - Cecilia's voice takes flight in this song about waves raging in a stormy sea. She almost becomes the force of the ocean as her voice surges and dives and wow.

Oiseaux, si tous les ans, K307 - She embodies a haunting vulnerability and the freshness of spring/summer. This song ends far too quickly.

La pastorella, D528 - Calm beauty to reflect a shepherdess in a meadow. Innocent love.

Havanaise - It seems like she has a completely different voice in this song as she reaches
to new ranges in depth. Charmed by a song? Perhaps.

Hai luli! - A seductive treatment of a song asking "where can my love be?"

"What's the point of living without a lover?"

Zaide - High energy and fast paced. A song about an orphan.

Malinconia, ninfa gentile - Gorgeous and poetic song.

Ma rendi pur contento - She really captures longing and an almost delicate purity.

La conocchia - Light and breezy.

Me voglio fa 'na casa - A song about the desire to build a house surrounded by the sea. Fantasy and happiness.

Mi langero tacendo - Poignant moment.

"I shall not complain of my bitter fate;
but, my beloved, do not hope for me not to love you."

Mi lagnero tacendo ll resentimento - the sorrow continues. The lover is said to be cruel.

Mi lagnero tacendo Sorzico - more complaints of cruelty and sorrow. She seems to capture frustration so exquisitely and is that stomping I hear? ;)

L'Orpheline du Tyrol - The Tyrolean orphan girl. Jean-Yves Thibaudet really takes the stage at first and Cecilia follows almost timidly. A song of tragedy, hunger and suffering.

Riedi al soglio from Rossini's opera Zelmira left seasoned connoisseurs dazzled. After the aria's final cadence, they broke from their awe-struck silence to add to the shouts of "encore."

Voi che sapete - Light and yet still dramatic. Desire, torment, ice. All explored fully by her voice. You can hear "torment" when she sings "martir" even if you could not see the words or follow along. Her voice really "flutters" when she sings "palpito e tremo." It is just amazing.

Canzonetta spagnuola - A muse comes to torment a painter.

Caro mio ben - A lover grows faint without love. Solitary melodies and you can almost feel the chill in the room or the feeling of despair the lover feels.

Canto negro - Is there anything she can't sing? This piece might seem completely out of place, but by now everyone is completely drunk with emotion from this performance.

Seguidille - Pleasure comes when two people are together. Definitely so when Cecilia Bartoli and Jean-Yves Thibaudet perform together. This song is almost a metaphor of the entire intoxicating experience. I just love how the audience goes absolutely wild after this song.

And too soon, it is over. I look forward to one day viewing the performance on DVD. It will be so much easier to understand the words now that I've literally studied this performance. Knowing the words definitely adds to the subtle emotions and more expressive moments.

~TheRebeccaReview.com

Cecilia Live.......2002-07-12

I have loved her low and warm voice ever since the first time I listened to her, the Italian mezzo-soprano Cecilia Bartoli. With respect and tenderness she treats the composers, whose works she performs while adding her own dimension. She transports me with her art. It is as if we become one person, and I experience her joy of music. Together we share a glimpse of eternity.

On this album which was recorded live at the Teatro Olimpico, Vicenza, Italy in 1998 Cecilia Bartoli offers her listeners a varied programme comprised of several composers: Caccini, Haendel, Vivaldi, Mozart, Rossini, Donizetti, Bellini, Viardot, Schubert, Montsalvatge and Bizet. She's accompanied in Caccini, Haendel and Vivaldi by the Sonatori de la Gioiosa Marca (Baroque string ensemble) and for the other pieces by Jean-Yves Thibaudet on piano. The accompanying booklet contains the lyrics, translations and further information.

Ms. Bartoli certainly has expanded her musical horizons here in several ways. On this disc she sings in Italian, French and Spanish. I loved her intense and heartfelt rendition of Caccini's and Haendel's arias. The passionate acrobatics of Vivaldi. And the Sonatori de la Gioiosa Marca gave her a fine support. She made a warm and lovely Cherubino in Mozart's famous 'Voi che sapete'. I also loved her sparkling interpretations of Viardot's 'Havanaise', Rossini's 'Mi lagnero tacendo' or his 'Canzonetta spagnuola'. But Montsalvatge's 'Canto negro' made me feel definitely uncomfortable and Ms. Bartoli herself didn't connect with it. Although I liked her rendition of Bizet's 'Seguedille, I still missed something there. Jean-Yves Thibaudet lends her an excellent, attentive and expressive support.

Although I would have preferred some more Baroque pieces at this concert, this live album is a keeper for me. Everytime the bundle of pure joy that is Cecilia Bartoli has the power to move me deeply!

Average customer rating:

Best of Luciano Pavarotti

Manufacturer: Golden Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

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

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Romanza

ASIN: B00013NDKU
Release Date: 2004-02-10

Tracks:

A' Vucchella
Ultima Canzone
Non T'Amo Piu
Malia
Serenata
Mattinata
Per la Gloria d'Adorarvi
Gia' il Sole Dal Gange
Pace Non Trovo
Che Fiero Costume
Dolente Immegine Di Fille Mia
Bella Nice Che d'Amore
Vaga Luna Che Innargenti
In Questa Tomba Uscura
Ave Maria
Pieta Signore
Messa Di Requiem, "Ingemisco"
Agnus Dei

Tracks:

Cielo Mar, "La Gioconda"
E Lucevan le Stelle, "Tosca"
Recondita Armonia, "Tosca"
Giunto Sul Passo Estremo, "Mefistofele"
Nessun Dorma, "Turandot"
Una Furtiva Lagrima "L'Elisir d'Amore"
Lunga da Lei...De' Miei Bollenti Spiriti...I Mio Rimorso Infame, ...
Mia Letizia Infondere...Come Poteva un Angelo, "I Lombardi Alla ..."
Pourquoi Me Reveiller, "Werther"
Ideale
Donna Non Vidi Mai, "Manon Lescaut"
Vaga Luna Che Inargenti
Me Voglio Fa' Na Casa
Tarantella

Sumi Jo - La Promessa / Vincenzo Scalera

Average customer rating:

Slow, tuneless, boring.
Bettered by the real thing
Sumi Jo tackles Belcanto
A promise fulfilled
Loverly voice, perfect technique

Sumi Jo - La Promessa / Vincenzo Scalera
Vincenzo Bellini , George Frideric Handel , Alessandro Scarlatti , Domenico Scarlatti , Giuseppe Verdi , Giuseppe Sarti , Christoph Willibald Gluck , Salvator Rosa , Giuseppe Giordani , Francesco Paolo Tosti , Antonio Cesti , Gioachino Rossini , Sir Julius Benedict , Stefano Donaudy , Wolfgang Amadeus Mozart , Antonio Caldara , Giovanni Paisiello , Sumi Jo , and Vincenzo Scalera
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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Sumi Jo sings Mozart
Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer
Sumi Jo - Prayers / James Conlon
Sumi Jo - Bel Canto / Arevalo · ECO · Carella
French Coloratura Arias

ASIN: B00000AEKD
Release Date: 1998-09-15

Tracks:

Caro mio ben
Lungi dal caro ben
Malinconia, ninfa gentile - Bellini
Qual farfalletta amante - D. Scarlatti
Ad una stella - Verdi
Lascia ch'io pianga - Handel_
Per pieta, bell'idol mio - Bellini
O del mio dolce ardor - Gluck
Star vicino
Se Florindo e fedele
Non t'amo piu
Intorno all'idol mio
La promesa - Rossini
La Capinera
O del mio amato ben
V'adoro pupille - Handel_
Vaghissima sembianza
Ridente la calma - Mozart
Alma del core
Nel cor piu non mi sento

Customer Reviews:

Slow, tuneless, boring........2007-07-13

This, that horrible collection of pop tunes, her prayers and her xmas carols are the Sumi Jo recitals I deliberately did NOT buy. Until the bitter end, I suckered to the reviews, craved some more of that wonderful singing and bought the pop crap and now this. I do not like art songs (except some Mozart), particularly not art songs to a piano accompaniment. If you do (and if you say you do, I'll doubt you), dig in, this is your meat and potatoes. Her voice is beautiful (it always was), the music is not.

Bettered by the real thing.......2007-03-21

I discovered the wonder that is Sumi Jo after I kept remarking to myself "Wow", every-time I played an operatic compilation and this one track came around - same track each time - hers! So, I sought to hear more and bought this CD, for no other reason than it was the only one Tower stocked. Sadly it seems that Sumi Jo is a little slow in receiving her rightful invitation to stand on the main podium. In my opinion, she is about as good as it gets, and certainly has a rightful place alongside the greats of Callas, Horne, Hendricks et al.
Well, what can I say, I love this CD, her voice is fluid and elegant, sharp but not cutting, well formed and with a force that can be projected or held, it's a wonderful CD on so many levels and one I have never grown tired of listening to each morning, what a great way to start the day! As an introduction to operatic arias I would certainly recommend this as I am sure it would surprise and enchant even the most hardened of sceptics who think that "Opera is not for me", or that there was no life after Callas.
This afternoon I was very fortunate to have 5th row seats at her spring recital, here in Japan, and what a truly awe-inspiring performance. A genuine world-class soprano Sumi Jo certainly is. Today's repertoire ran from Handel, Vivaldi, Benedict, Strauss, Bellini to Verdi. Singing comfortably in FOUR languages she delivered a performance that the CD in now way prepared me for. A performance that brought her four encores, numerous standing ovations and thunderous applause from a usually reserved (Japanese) audience. Besides her obvious musical talents I have to say that I found her to be such a marvellously warm and appreciative human being who was genuinely appreciative of her audience and I can't wait to get out there and listen to more of the joy that is Sumi Jo.

Sumi Jo tackles Belcanto.......2006-11-03

Coloratura soprano Sumi Jo delivers another delightful album, focusing on arias and pieces from the Italian chamber music composers (Giordani, Bellini, Rosa, Caldara, Cesti, etc.). While I believe Sumi Jo is better-suited to the French composers (see her album "Les Bijoux" on the Erato label), she proves her mettle here by delving wholeheartedly into a section of opera which a lot of sopranos do find quite difficult, the belcanto pieces are an artform in themselves.

In particular, her readings of "Star vicino" (Rosa), "Alma del core" (Caldara), and "Intorno all'idol mio" (Cesti) are chill-inducing. Supported by Vincenzo Scalera on the piano, the feather-light voice of Sumi Jo glides through these pieces with enviable skill. A beautifully-presented album.

[Erato/Warner Music 3984-23300-2]

A promise fulfilled.......2004-10-28

This collection of famous Italian arias is in my opinion one of the greatest recordings of the decade. Jo finds a new style and colour for each song, be it hauntingly romantic or elegant, poised baroque. One of the most beautiful voices today. Do not miss this at all costs!

Loverly voice, perfect technique.......2003-04-04

I noticed her voice a couple of years ago on TBS TV station live concert in Korean. The applause for her was like thouder storm, and since then I remembered her forever.

There is no doubt about her voice and technique, which is one of the best among her peers today. But even in her best reviewed CDs and live performances, I always felt there is a little regret, which is the lack of passion. Behind her crystallike and gentle voice, I found the music is second to the technical showoff, or maybe I should say she is so perfect techincally that the music content was overshadowed. While, from another perspective, all her CDs can be perfect text books for students.

String Quartets 3
Average customer rating:

Major Twentieth Century String Quartets

String Quartets 3
Martinu , and Martinu Quartet
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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String Quartets 2

Martinu: String Quartets Volume 1

Martinu: Chamber Music

Martinu: Symphonies

Martinu: Flute Trios; Promenades; Madrigal Sonata

ASIN: B00006RHPJ
Release Date: 2003-01-21

Tracks:

Allegro Poco Moderato
Allegretto Scherzando
Adagio
Allegro
Allegro Non Troppo
Adagio
Allegro Vivo
Lento - Allegro
Poco Allegro
Andante
Allegro Vivo

Customer Reviews:

Major Twentieth Century String Quartets.......2003-06-11

After living with the three-CD set of the seven Martinu string quartets, played by the eponymous Martinu String Quartet, I am prepared to insist that they are among the major quartets written in the twentieth century. And the three on this volume, the last in the series, show no let-down of quality.

The 4th and 5th Quartets were written during Martinu's lengthy sojourn in Paris where he had gone to study with Albert Roussel. In them he includes Czech folk material (or material that is original with him but SOUNDS like Czech and Moravian folk tunes). And his language is a bit more angular than in the earlier quartets. The second movement of Quartet No. 4, a scherzo, is particularly attractive and has rhythmic elements of the Czech furiant as seen in a funhouse mirror; delightful. The Adagio of the 5th Quartet has a long, melancholy song in the first violin accompanied by almost-Bartókian pizzicati over mumbling trills in the cello.

By the time Martinu got to his three-movement seventh and last quartet, ten years had gone by (it was now 1947 and he had moved to New York) and it is unlike any that went before. It is in a somewhat simplified, neo-classic language; the opening of the first movement almost sounds like it could have been written by Stravinsky, with some unexpected metric displacements. The middle Andante movement has a lyrical and mournful opening theme given by the first violin and later taken up contrapuntally by the viola and cello. There are some key-changes along the way that remind one of some of the more advanced procedures of Martinu's countryman, Leos Janácek. The Allegro final movement is a sparkling Haydnesque romp, an exuberant conclusion to a very attractive quartet.

The performances by the Martinu String Quartet, as in the earlier issues, are idiomatic, clean, graceful - in word, they're superb. I spent a lovely Saturday afternoon recently listening to all seven quartets in sequence; what a joy!

Thank you again, Naxos, for making these performances available.

Tracks:

Rapsodie For Orchestra And Alto Saxophone (Original Version)
Vif
Modere
Brazileira
Allegro Ma Non Troppo
Larghetto
Animato Molto
Anime
Lent - Vicci Wardman
Tres Anime
Concerto In E Flat Major For Alto Saxophone And Strings, Op.109
Pageant And Invocation
Metamorphoses Into Apollonian Light
Ritual Dance-Prayer Of The Body-Ecstasis

Customer Reviews:

Fantastic CD.......2006-02-08

This is a must buy CD for any music lover.
The emotion that Kerkezos puts into these performances is just amazing. He has a beautiful tone, a beautiful sound and has made a fantastically beautiful CD. Whether you just like saxophone music or want to listen to how a true genius plays, you must but this CD. One of the best sax players around today, and no doubt for a long time to come.
Thankyou Theodore for enlightening my CD collection :)
Jacob

the most usefull cd for a saxophonist.......2004-03-25

I think this work is the most suitable for the advaced saxophonist to approach the composers.
Because the performer gives with accuracy,artistry and sensitivity the pieces.
It was what the audience needed to get to know the classical saxophone.
Congratulations again to the performer!!!!!!!!

Thankyou naxos.......2004-03-08

This CD is a huge improvement on the one released earlier (with Sohre Rabhari)- I can't remember the spelling. Anyway, this is a good CD. People familiar with other recordings of the Glazunov, Harle, Rousseau, Bornkamp etc, may find his tempi a bit unusual, but the tempo indications of the Glazunov are always a source for debate, I haven't checked them against a metronome and the score, but from what I remember, people always seem to play slightly faster than indicated.

Nonetheless, a good value buy- most things are so expensive, and hard to find (in New Zealand, anyway) All things considered, cost, quality, musical integrity etc, contribute to the high rating of this disc.

Great classical saxophone music.......2004-01-25

I heard Mr. Kerkezos playing live with the London Philarmonic
Orchestra at the Royal Festival Hall. I was impressed by his beautiful tone and mastery of the saxophone as well as his skillful arrangement of the Tango Suite for Saxophone and Orchestra by Astor Piazzolla. I found this CD by searching on the web for his name.
It consists of beautiful performances of pieces of the classical saxophone repertoire such as the Rhapsody for Saxophone by Debussy, the Glazunov concerto and Scaramouche by Milhaud. The last piece "Song of Dionyus" by contemporary greek composer, Ekaterini Karamessini showcases the versatility of Mr. Kerkezos as a saxophone performer. I highly recommend this recording both to listeners new to the classical saxophone as well as listeners familiar with that repertoire.

Average customer rating:

a voice teacher and early music fan
Wonderfully Sensitive
Dellightful Baroque performances from a masterful contralto

Cantatas for Solo Countertenor

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

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General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Countertenor Duets by Purcell and Blow
Lamento
Sandrine Piau - Handel Opera Seria
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Vivaldi: Virtuoso Cantatas

ASIN: B000090WCA
Release Date: 2004-02-10

Tracks:

Questo Silenzio Ombroso - Sandrine Piau
Dolce Piange Romito Usignuolo - Sandrine Piau
Or Mentr'io Dormo - Sandrine Piau
Introduction - Sandrine Piau
Filen, Mio Caro Bene - Sandrine Piau
Aria: Chiedi Pur Ai Monti - Sandrine Piau
Recit: Ma Se Prova Bastante - Sandrine Piau
Aria: Che Ti Sembra, Son Fedele - Sandrine Piau
Recit: Cleopatra Mia Reina - Sandrine Piau
Aria: Parto Dunque O Mio Tesoro - Sandrine Piau
Recit: Antonio, E Qual Destino - Sandrine Piau
Aria: Vo Goder Senza Contrasto Te Mia Vita - Sandrine Piau
Recit: Somministriamo A Giove - Sandrine Piau
Duo: Deh, Mio Ben, Troppo Ti Sprona - Sandrine Piau
Recit: Regina, E Scritto In Ciel - Sandrine Piau
Duo: Dunque Mio Core, All'Armi - Sandrine Piau
E Pur Vuole Il Cielo E Amore - Sandrine Piau
In Si Duro Martire Che Piu Penare - Sandrine Piau
Recit: Leandro, Anima Mia - Sandrine Piau
Aria: Non Mi Togliete Il Bene - Sandrine Piau
Recit: Vieni, Leandro, A Consolar - Sandrine Piau
Aria: La Speranza Dice Al Core - Sandrine Piau
Recit: Cosi Fra Se Parlava - Sandrine Piau
Aria: Di Donna Amante - Sandrine Piau
Recit: Mentre Sul Carro Aurato - Sandrine Piau
Aria: Piu Di Te, Mirtillo Mio - Sandrine Piau
Recit: Ma Come In Questi prati - Sandrine Piau
Aria: No, Non Diperar Chi Sa? - Sandrine Piau
Recit: Dimmi, Intatta Per Me - Sandrine Piau
Aria: Si, Per Te, Mio Bene - Sandrine Piau
Recit: E Tu, Clori Gentille - Sandrine Piau
Duo: Sin Che Il Sole Spande I Rai - Sandrine Piau

Tracks:

Medea In Corinto - Sandrine Piau
Soffri, Mio Caro Alcino - Sandrine Piau
I Preludio - Sandrine Piau
II Allemanda - Sandrine Piau
III Giga - Sandrine Piau
D'improvviso - Sandrine Piau
I Grave - Sandrine Piau
II Vivace - Sandrine Piau
III Adagio - Sandrine Piau
IV Vivace - Sandrine Piau
Vicino A Un Rivoletto - Sandrine Piau

Tracks:

Splenda L'Alba In Oriente - Sandrine Piau
La Lucrezia - Sandrine Piau
I Allegro - Sandrine Piau
II A Tempo Ordinario - Allegro Non Presto - Sandrine Piau
III Passacaille - Sandrine Piau
IV Gigue - Sandrine Piau
V Menuett - Sandrine Piau
Mi Palpita Il Cor - Sandrine Piau
Carco Sempre Di Gloria - Sandrine Piau

Tracks:

Preludio - Gerard Lesne
Aria: Siedi Amarilli - Gerard Lesne
Arioso: Lo Ti Miro - Gerard Lesne
Recit: Ah! Si Che I Tuoi Begl' Occhi - Gerard Lesne
Aria: Se Scherza E Ride - Gerard Lesne
Aria: Lasciami Un Sol Momento - Gerard Lesne
Recit: E Possibile, O Dio - Gerard Lesne
Aria: Soffro In Pace - Gerard Lesne
I Andante - Gerard Lesne
II Allegro - Gerard Lesne
III Menuet I (Grazioso) - Menuet II - Gerard Lesne
Ritournelle - Gerard Lesne
Recit: Misero Pastorello - Gerard Lesne
Aria: Se Tarda L'aurora - Gerard Lesne
Recit: Consolati, Cor Mio - Gerard Lesne
Aria: Si, Vi Rivedro - Gerard Lesne
I Tempo Giusto - Gerard Lesne
II Spiritoso - Gerard Lesne
III Lento - Gerard Lesne
IV Allegro - Gerard Lesne
Recit: Giu La Stagion D'Amore - Gerard Lesne
Aria: Vaghe Rose - Gerard Lesne
Recit: Pastorella Gentile - Gerard Lesne
Aria: Occhi Vezzosi - Gerard Lesne

Customer Reviews:

a voice teacher and early music fan.......2006-07-22

This is a four disc set that includes cantatas by:Alessandro Scarlatti-Caldara-Handel and Giovanni Bonancini. What a treasure trove of music!!!!The cantata, to some extent, is a development from the madrigal that appeared in Italy at the start of the seventeenth century. While the madrigal was refined and delicate, the cantata evolved because composers felt the need to introduce a dramatic narrative element into vocal chamber music and thusly the music took a lighter, wittier turn.Scarlatti is considered as one if the initiators, and also one of the reformers of this genre, whose outlines he established. In his cantatas for a single solo voice and continuo,Scarlatti treats the latter as a true partner of the voice. Caldara,who was Scarlatti's contemporary,played a large part in the development of the chamber cantata for one to five voices. Bonancini,who was essentially centered on opera, nonetheless wrote innumerable cantatas for one or more soloists. Handel's stay in Italy between the years 1706 and 1710 resulted in a time of intense creative activity, and he quite naturally gravitated towards the cantata. One of my favorites of Handels on this disc is:"Splenda l'alba in oriente", Lesne does a very learned and skillful renditon of this music. The lightness of his countertenor voice suits this genre very well. He has good diction and a nice emotional response to the varying moods of the music. Sandrine Piau (soprano) does a nice job of blending and complementing the countertenor tone quality. All in all it's a most enjoyable and varied listening experience.

Wonderfully Sensitive.......2006-01-20

I want to just say that being a countertenor, it's hard to find a partner who can counter your unique tone quality and timbre. Sandrine Piau is one of the best period sopranos I have ever had the pleasure of hearing. The most pure and beautiful tone you can imagine. She plays off Gerard Lesne as if they are one voice, yet still seperate entities in their roles as musical indivuals in this recording. The selections are nothing short of amazing, and had me hooked from the very first track. Every once of energy has been given to the sensitivity of this unworldly pure music. The Handel pieces are a rare find and a surprise to those who think they know G.F. Handel like the back of their hand. And of course Gerard Lesne is one of the most celebrated countertenors on the stage today. His sound is unique yet still beautiful in that he is keen to preserve the music in its intended context. This recording is an amazing find for those who can't get enough of the countertenor sound, and can't find many recordings of Caldara, and Bonocini.

Dellightful Baroque performances from a masterful contralto.......2004-03-29

One wonders how Virgin Classics manages to produce and market these "Pleasure 4" 4-CD sets for such low prices, but prospective buyers need not worry that they might be getting an inferior product. While an avid lover of Baroque music, before buying this set I had never been aware of contralto Gérard Lesne's name, though I soon noticed that it appears on a number of disks that I already owned--along with the names of great Baroque maestros like Philippe Herreweghe and William Christie and outstanding performers like Fabio Bondi and Véronique Gens. The discography of Lesne and his Il Seminario Musicale is nothing short of astounding in quantity and range, including many disks that have received rave reviews from Amazon reviewers and customers. Lesne is certainly as versatile a countertenor as Andreas Scholl and David Daniels, though he is apparently a little less in the limelight. The cantatas presented here are well arranged so that there is considerable contrast in style and tempo from one piece to the next, assuring that the listener never feels a sense of monotony. Moreover, we have four disks of cantatas each by a different composer, and many of these works will be new to even the average Baroque aficionado. I myself was not even aware of Caldara (c. 1670-1736), ten years younger than Scarlatti, who though "one of the most prolific composers of his generation," gets less than eight minutes on Harmonia Mundi's 15-disk Les Lumieres du Baroque (on the CD called "The Golden Age of the Oratorio"). Bononcini (1670-1747) was an equally prolific writer of vocal music, a pioneer of Italian opera, and an associate--and later rival--of Handel (1685-1759) in London. It is a delight to be able to revel in and compare some of the many delightful cantatas produced more-or-less contemporaneously by these great composers, performed with an alternation of loving gentleness and sprightly vitality by Lesne and ISM with instrumental interludes and accompaniments that can stand with the best of Baroque period performances. Lovers of late 17th and early 18th century music will find these relaxing disks ideal not only for dedicated listening, but also for playing in the background while working, doing household chores, or driving. If you already have some of Lesne's recordings, you will want this set as well, and for those who do not, this set is likely to become the beginning of a Lesne collection you will cherish for years.

Average customer rating:

Bolivian Baroque Vol. 2 [Hybrid SACD]

Manufacturer: Channel Classics Nl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Bolivian Baroque [includes DVD] [Hybrid SACD]
La Noche Buena: Christmas Music of Colonial Latin America
Pilgrimage to Santiago
Moon, Sun & All Things
New World Symphonies: Baroque Music from Latin America

ASIN: B000JBWWLA
Release Date: 2006-11-14

Tracks:

Allegro Assai
Andante Spirituoso
Allegro
Cayosole Al Alba (ANB, Musica 831)
Gloria Et Honore (AMCh 199, Mo 17)
Stella Coeli Extirpavit (ANB, Musica 705)
Quis Me A Te Sponse Separabit (AMMoxos)
Kyrie (Bells From Cathedral De Conception)
Gloria
Credo
Sanctus
Agnus Dei
Untitled
Andante
Allegro
Si El Amor Se Quedare Dormido (ANB, Musica 896)
Tota Salutis (AMMoxos)
Salve, Regina (AMCh 131; Am 10)
Tota Pulchra Es Maria (ANB, Musica 722)
Traditional Bolivian Melody

Average customer rating:

Some Interesting Arrangements of Early 20th Century French Music
B. Marsalis delights, but does not surprise
The Disc Title Says it All
Fairly lackluster, but interesting to hear
Shivers down my spine

Creation

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Romances for Saxophone
Music for Saxophone & Orchestra
Contemporary Jazz
Requiem
Ballades for Saxophone and Orchestra

ASIN: B00005A8I4
Release Date: 2001-03-06

Tracks:

Gymnopedie No.3
Children's Corner Ste: The Little Shepherd
Pavane Pour Une Infante Defunte
La Creation Du Monde, Op.81
Requiem, Op.48: Pie Jesu
Sorocaba (Saudades Do Brasil No.1), Op.67
Scaramouche Ste, Op.165c: I. Vif
Scaramouche Ste, Op.165c: II. Modere
Scaramouche Ste, Op.165c: III. Brazileira
Corcovado (Saudades Do Brasil No.7), Op.7
Sumare (Saudades Do Brasil No.9), Op.67
Concertino Da Camera: I. Allegro Con Molto
Concertino Da Camera: II. Larghetto
Concertino Da Camera: III. Animato Moto
Laranjeiras (Saudades Do Brasil No.11), Op.67
Children's Corner: Golliwogg's Cake-Walk

Amazon.com

This CD is the long-awaited follow-up to jazz saxophonist Branford Marsalis's 1986 debut, Romances for Saxophone with the English Chamber conducted by Andrew Litton. Since that project, Marsalis has led his own jazz combos and worked with The Grateful Dead and Sting. On this recording, Marsalis's superb soprano and alto sax are buoyed by the wonderful, conductorless Orpheus Chamber Orchestra, an ensemble that was featured on Herbie Hancock's Gershwin's World. Marsalis's clear sound and mature phrasing imbue French classics like Ravel's "Pavane pour une infante défunte," Debussy's ragtime-rhythmed "Golliwogg's Cake-Walk," and Fauré's "Pie Jesu" with verve and vitality. Marsalis navigates the New World syncopations of Darius Milhaud's "Saudades do Brasil" with the same ease he displays on the composer's jazz-inspired ballet, "La création du monde." On Jacques Ibert's showcase for the alto saxophone, "Concertino da camera," Marsalis's negotiation of its florid melody and his swing-spiced cadenza show that the innovations of jazz improvisation have enriched and extended the classical tradition. --Eugene Holley Jr.

Customer Reviews:

Some Interesting Arrangements of Early 20th Century French Music.......2007-02-04

A few years back, I remember hearing Branford Marsalis interviewed as part of an intermission feature of a broadcast from, the Metropolitan Opera. He was speaking about the one opera that made him fall in love with the musical form. Most people who fall in love with opera usually name a work such as LA BOHEME or RIGOLETTO as a first love, but for Marsalis the choice was TRISTAN UND ISOLDE. As he began stating his reasons for choosing one of Wagner's monumental and challenging works, he began discussing the composer's intricacies of the vocal and orchestral components and the originality of the work. It was obvious we were hearing a musician's musician speak. Marsalis has the same appreciation for what a composer intends in this collection of early twentieth century French compositions and just like the interview, demonstrates that he is a musicians' musician.

CREATION is a collection of early twentieth century works arranged for saxophone and orchestra. Marsalis is joined by the Orpheus Chamber Orchestra for arrangements that are original yet also respect the intention of the composers. Overall CREATION is a great relaxation disc, with the exception of some of the Milhaud pieces (the arrangement of LA CREATION DU MONDE is perhaps the one piece that makes this collection of what could be termed background music somewhat startling). Our local classical music radio station often plays some of the pieces from this collection and calls the pieces "tracks to relax." The selections are varied from Debussy, Satie, Ravel and Faure to the more experimental sounds of Darius Milhaud. The choice of selections shows the variety of the music and in many ways shows that the line between classical and jazz in the twentieth century is not always as fixed as it seems.

This collection provides great musical entertainment and offers some interesting interpretations of great music that's certain to be enjoyed by many.

B. Marsalis delights, but does not surprise.......2005-08-16

Can an album seem pleasant, become a bit predictable, and then drift into the beautiful category? Here is graceful playing by one of the best saxophonists alive today, but there is no perspiration in the music. Why perspiration? Because when playing like this is so effortless, it does not ask much of the listener to join in with the musician's effort.
Then I realize this is all BS. Just listen to one of the best instumentalists playing very nice tunes. It is not his fault if it is so smooth, and clean. Just great.

The Disc Title Says it All.......2004-10-14

"Creation" is probably the best word one could choose for this fine effort. This is an interesting recording, one that mostly excels, but also has some shortcomings.

Branford's playing is a lot of things here, studied, practiced, prepared, thorough, and strong. It could have been more sensitive and collaborative. This is not something that necessarily need be laid at his door; it could be a "group" thing as much as anything. Other reviewers have noted that ensemble players often have difficulty working within an orchestra setting, and that the presence of a conductor could have kept things in check.

But that was not the point of this effort. If Orpheus and Branford had wanted a conductor they would have hired one. So one must use a more nuanced and blended yardstick to measure this . The compositions themselves clearly have a strong jazz influence, so the conceptual approach of the players is not only entirely appropriate but interesting. And that's what in the end separates jazz music from classical music. You may not like what people play or the way they play it, but at least it's not the same old stale sh-t. Branford's history of exploring a variety of musical stylings comes in well here; I appreciate his playfulness and almost joyful approach to some of these pieces. That's the way I think they ought to be played.

Highly Recommended.

Fairly lackluster, but interesting to hear.......2001-12-08

Branford Marsalis is an excellent jazz saxophonist.

However, he runs into the same problems many jazz musicians have when trying to "cross over" into classical: too little emphasis on tone quality, rough articulation, trouble blending with the strings, and in some cases, sloppy ensemble technique.

Perhaps this latter problem has more to do with the lack of a conductor than a lack of skill.

Marsalis plays quite respectably on the Ibert. He doesn't take the ossia altissimo passages, but many "classical" artists don't either, so I can't fault him for that.

The "Scaramouche" comes off the best of all the traditional recital pieces on this disc. Marsalis caputures the fleeting playfulness of the first movement, and his technique is flawless here.

His tone is unacceptably bright and raucous in the "Creation du Monde," however. His playing in that piece is beyond the range of any interpretation I've ever heard. Much of this has to do with the placement of the microphones and the production of the recording as well.

I would have preferred that the disc include fewer transcriptions, but Marsalis seems to enjoy recording transcriptions instead of the more serious works for classical saxophone. It would be interesting to hear him play some of the heavier repertoire: the Glazonov concerto, the Dubois Concerto, the Dahl concerto, etc.

Shivers down my spine.......2001-08-03

If you're a Branford Marsalis fan, you'll be on the edge of your seat 4 seconds into the opening cut. Imagine his exquisitely clear alto sax intoning the melody of Satie's Gymnopedie. And with Orpheus's incredible group energy (it's an orchestra whose members conduct themselves) and you'll understand.

I thought it would be wonderful background as I sat working at my computer -- it's so incredible it's distracting. Savor this.

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