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Zelenka: 6 Sonatas for two Oboes and Bassoon

Average customer rating:

Wonderful music expertly performed

Zelenka: 6 Sonatas for two Oboes and Bassoon

Manufacturer: Accent Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Zelenka: Complete Orchestral Works
Zelenka: Trio Sonatas
Johann Friedrich Fasch: Concertos
Telemann: Chamber Concertos
Heinichen: Dresden Wind Concertos /Fiori Musicali * Albert

ASIN: B00000442N
Release Date: 1999-01-01

Tracks:

Son No.1 in F: Adagio Ma Non Troppo
Son No.1 in F: Allegro
Son No.1 in F: Larghetto
Son No.1 in F: Allegro Assai
Son No.2 in g: Andante
Son No.2 in g: Allegro
Son No.2 in g: Andante
Son No.2 in g: Allegro
Son No.3 in B flat: Adagio - Paul Dombrecht/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.3 in B flat: Allegro - Paul Dombrecht/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.3 in B flat: Largo - Paul Dombrecht/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.3 in B flat: Allegro - Tempo Giusto - Paul Dombrecht/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen

Tracks:

Son No.4 in g: (Andante) - Paul Dombrecht/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.4 in g: Allegro - Paul Dombrecht/Ku Ebbinge/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.4 in g: Adagio - Paul Dombrecht/Ku Ebbinge/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.4 in g: Allegro Ma Non Troppo - Paul Dombrecht/Ku Ebbinge/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.5 in F: (Allegro) - Paul Dombrecht/Ku Ebbinge/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.5 in F: Adagio - Paul Dombrecht/Ku Ebbinge/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.5 in F: Allegro - Paul Dombrecht/Ku Ebbinge/Chiara Banchini/Danny Bond/Richte Van Der Meer/Robert Kohnen
Son No.6 in c: Andante
Son No.6 in c: (Allegro)
Son No.6 in c: Adagio
Son No.6 in c: Allegro

Customer Reviews:

Wonderful music expertly performed.......2001-06-20

These six sonatas must be considered to be the high water-mark of baroque trio sonatas (much as Bach's Brandenburg concerti are the pinnacle of the concerto grosso), and are given a nearly flawless performance by this ad hoc ensemble. I first heard of Zelenka when I caught the second sonata being played on the radio and was completely overwhelmed by his contrapuntal skill. The moment in the first Allegro when the second theme is joined by the first remains one of my most memorable musical epiphanys. Each sonata here is equally splendid and are very rewarding for the active listener. The reading given by Ponseele, Dombrecht, et al is admirable in every way. Given that two of the works were recorded some six years before the others, there is no noticable difference between them. The fact that the same ensemble was used for each session undoubtably helps. The oboists aquit themselves with confidence, and are generally very secure. The bassoon part is surely one of the most demanding in the entire repetoire, and Danny Bond never falters (even in the thrilling fifth sonata). The only fault I could name are a couple of obvious edits. This is music that deserves to be famous and well known.

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Valkyrie

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

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

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Free at last!.......2004-09-18

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

I Love This Recording.......2002-04-05

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

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

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

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

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

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

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

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

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

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Unsung Sondheim

Valuable only if you don't have any of these songs elsewhere

Unsung Sondheim
Various Artists
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music
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Unsung Musicals - The Ultimate Collection

Marry Me A Little (1981 Original Off-Broadway Cast)

Unsung Musicals II (Studio Cast)

Company (2006 Broadway Revival Cast)

Grey Gardens - A New Musical (2006 Original Broadway Cast)

ASIN: B000067CMJ
Release Date: 2002-06-04

Tracks:

Saturday Night - Stan Chandler
Love's A Bond - Walter Wilson
All For You - Davis Caines
In The Movies - Marilyn Cooper
What Can You Lose? - Judy Kuhn
Incidental Music From 'Invitation To A March' - Dave Rodgers
That Old Piano Roll - Lynnette Perry
They Asked Me Why I Believe In You - Rebecca Luker
No, Mary Ann - Jason Crade
Truly Content - Judy Kaye
Water Under The Bridge - Debbie Cravitte
Incidental Music From 'The Enclave' - Bjorn Messaget
There's Always A Women - Kaye Ballard
The Two Of You - Crista Moore
Multitudes Of Amys - Michael Rupert
Goodbye For Now - Liz Callaway

Customer Reviews:

Unsung Sondheim.......2007-05-20

What a collection of unsung Sondheim tunes. At times I wondered why these songs had been dropped from shows. Well sung by the various artists.

Valuable only if you don't have any of these songs elsewhere.......2006-10-07

In the early 90's this was a fascinating CD, as it gave listeners a chance to hear many of Sondheim's "lost treasures" which might otherwise be gone forever. (The man does not do "trunk songs" which can be dropped into other shows.) Time, however, has not been kind to this collection. The first four tracks from "Saturday Night" have some bouncy charm (I never realized before how naughty the lyrics for "Love's a Bond" are), but with the glorious complete cast album released a few years ago with David Campbell in the lead, they've now been rendered redundant. (And "In The Movies," though boasting endearing vocals, suffers with all of its context and intercutting songs gone.) "What Can You Lose" can't measure up to Madonna and Mandy Patinkin's sensitive performance on her "I'm Breathless" album (and that would hardly qualify as "unsung"). "That Old Piano Roll" is fun but slight, and "Truly Content" mines the same lyrical phrase over and over till the fun wanes, despite Judy Kaye's winning vocals. "Water Under the Bridge" is one of the weakest songs Sondeheim's probably ever done, and deserves obscurity. Other, better songs here with often exquisite renditions are nonetheless available on other discs, and thus again hardly qualify as "unsung": "I Believe In You," a sweet and lovely song, is on Bernadette Peters' second "Sondheim Etc." CD (though Rebecca Luker's warm, enchanting rendition here is nothing to sneeze at), Mandy Patinkin frantically covered "Multitudes of Amys" on "Experiment," Madeline Kahn and Peters jousted with "There's Always a Woman" on the "Anyone Can Whistle" cast album from the mid-90's (props to Kaye Ballard's biting performance here though), Streisand covered "Goodbye for Now" on "The Movie Album" (and gave it a poignancy and depth it probably doesn't really deserve for such a drab little song). What's left? A cheerful, seemingly menage-a-trois ditty called "The Two of You" (which, bizarrely, was apparently written for "Kukla, Fran and Ollie"). A just plain wonderful "No, Mary Anne," which combines an impassioned performance, hard-bitten realism and sweeping romanticism into something quintessentially Sondheim. (The liner notes indicate that Sondheim expected this to be a parody of a big hit song, "like 'Hello Dolly!'" Those who know anything about Sondheim--and the yawning chasm between his style and Jerry Herman's--may find their heads exploding at that one.) Two endless instrumental pieces from "The Enclave" and "Invitation to a March" (tracks #6 and #12) that are mostly remarkable for how uninteresting they are. The liner notes are outstanding and offer lots of intriguing perspective (listening to "Multitudes of Amys," and you just might wish that "Company" had ended as it was orginally intended to). If you don't have CDs by Peters, Madonna, Streisand, et all, this is a great introduction; otherwise, bump it way down the priority list.

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What ??
Nice Voice, but not a nice person...(read on, pls.)
A let down
The definitive Paul Robeson compilation

The Essential Paul Robeson

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

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Gospel | Christian & Gospel | Styles | Music

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

English | Languages | Opera & Vocal | Styles | Music

Singer-Songwriters | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

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Traditional Pop | Oldies | Pop | Styles | Music

Movie Scores | Soundtracks | Styles | Music

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Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

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Ballad for Americans
Paul Robeson Sings "Ol' Man River" & Other Favorites
Paul Robeson Live at Carnegie Hall
Songs of Free Men/ A Paul Robeson Recital
Ol' Man River: His 25 Greatest

ASIN: B00005B15R
Release Date: 2001-05-22

Tracks:

Ol' Man River
Steal Away
Joshua Fit De Battle Ob Jericho
Water Boy
Swing Low, Sweet Chariot
Deep River
Lonesome Road
Mighty Lak' A Rose
Rockin' Chair
When It's Sleepy-time Down South
Mah Lindy Lou
My Curly Headed Baby
Carry Me Back To Green Pastures
Lazy Bones
St. Louis Blues
Congo Lullaby
Canoe Song
Shenandoah
I Still Suits Me
Summertime
It Ain't Necessarily So
Just A-Wearyin' For you
Song Of The Volga Boatmen
Little Man, You've Had A Busy Day

Tracks:

Sometimes I Feel Like A Motherless Child/Minstrel Man
Git On Board, Li'l Children/Dere's No Hidin' Place
Go Down, Moses
Bear De Burden/All God's Chillun Got Wings
Nobody Knows The Trouble I've Seen
Got The South In My Soul
Blue Prelude
Fat Li'l Feller Wid His Mammy's Eyes/Shortnin' Bread
Wagon Wheels
The Banjo Song
Love Song
Climbing Up (Mountain Song)
All Through The Night
Mood Indigo
At Dawning
An Eriskay Love Lilt
Trees
Jerusalem
The Cobbler's Song
A Perfect Day
Sylvia
Sea Fever
King Joe (The Joe Louis Blues)
The Old Folks At Home (Swanee River)
My Old Kentucky Home

Customer Reviews:

What ??.......2006-12-10

The idiot from Virginia thought it a bit strange that an American black man would give the communists a chance. Looking back from modern perspective is easier than what he had to go on in the thirtes. Gee, I wonder why a black man would do that after all that southern hospitality, segregation, and steady work you gave the "black folk". Not to mention all those nighttime campfires you had going in their honor.
While I might be from New York I certainly would not be called a bleeding heart liberal but I can certainly understand why the poor soul was looking elsewhere. You are either ignorant of history and its influences on people or you are a totally unsympathetic jackass!!

Nice Voice, but not a nice person...(read on, pls.).......2006-01-07

Paul Robeson, who was brainwashed into
beleiving Communist rhetoric (which is
strange as hell for an Amer-I-can black
man). A good singing voice but all cover
songs! Come on, Paul!

A let down.......2004-09-24

I own several Robeson recordings and purchased this one with high hopes as it has a great selection of tracks. Unfortunately given the excellent recording quality of "Songs for Free Men" and "The Paul Robeson Oddyssey", the remasters from what I assume are 78's and possibly radio are a let down and mar what could have been an excellent album.

The definitive Paul Robeson compilation.......2003-09-19

This 2 CD set of Paul Robeson is the definitive collection providing a decent overview of his work in 50 tracks all wonderfully restored from 78s as usual for ASV, with spirituals, show tunes, Shakespeare-like readings, and more done with a trademark bass voice and orchestration that backs up Paul perfectly and he would later be one of the first civil rights activists. The first disc is a reissue of the single disc "Ol' Man River-His 25 Greatest" on ASV containing "Ol' Man River," "Mighty Like a Rose," "Joshua Fit De Battle Ob Jericho," "Carry Me Back To Green Pastures," "Lazy Bones," and many more classics which is also available here at Amazon for those who only want a single disc of Paul's work and the 2nd disc contains 25 more classics including "Nobody Knows The Trouble I've Seen," "The Old Folks At Home," "My Old Kentucky Home," "Wagon Wheels," "Git On Board, Little Children," and many more. In other words, all 50 of these tracks are essential to any early pop, folk, gospel, blues, etc. music fan and this is the set to introduce yourself to his work in a convenient 2 CD package with the usual great liner notes and details on the original 78s ASV provides with each CD released in their Living Era series.

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Greatest piece of Jewish Music =s Handel's Messiah

Ernest Bloch: Sacred Service; Schelomo

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Ernest Bloch: Sacred Service
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Darius Milhaud: Service Sacre [Milken Archive of American Jewish Music]

ASIN: B00005UDXT
Release Date: 2002-02-26

Tracks:

Sacred Service (Avodath Hakodesh): Part 1: Meditation (Mah Togu)
Sacred Service (Avodath Hakodesh): Part 2: Sanctification (Kedushah)
Sacred Service (Avodath Hakodesh): Part 3: Silent Devotion (And Response), Taking The Scroll From The Ark (Interlude)
Sacred Service (Avodath Hakodesh): Part 4: Returning The Scroll To The Ark
Sacred Service (Avodath Hakodesh): Part 5: Adoration (Vaanachnu), Benediction
Schelomo: Hebraic Rhapsody For 'Cello And Orchestra - W. Zara Nelsova
Supplication - Ernest Bloch
Jewish Song - Ernest Bloch

Customer Reviews:

Greatest piece of Jewish Music =s Handel's Messiah.......2005-03-02

This is a great recording of one of the greatest pieces of religious music, not just for Jews but for Christians alike. Only one recording better: Bernstein's classic recording on vinyl with his New York Symphony and the late great Leonard Warren, sadly not available on CD, (so far as I know). (Pray for Bernstein's CD availability, then demand it, from the powers that be!) [Yes, this recording is a little better than the South African recording, I have all three!]

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The Art of Virgil Fox Vol. 2
!

Art of Virgil Fox, Vol. 2

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music
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The Art Of Virgil Fox
Virgil Fox Encores
The Wanamaker Legacy
Bach: Great Organ Works
Works for Organ - Essential Classics

ASIN: B000002S76
Release Date: 1996-04-23

Tracks:

We All Believe in One God
Fantasia on The Old Hundredth
Perpetuum Mobile
Giga
Love's Old Sweet Song
Kamenoi Ostrow (Reve Angelique)
Poem
A Dream (Ein Traum)
Dreams
At Dawning
Minuet in G
Calm As The Night
A Perfect Day

Customer Reviews:

The Art of Virgil Fox Vol. 2.......2007-04-01

I find the recording quality of this CD to be very good. As a child I had the opportunity to meet the organist Virgil Fox through my mother, who was a friend and colleague of his (she was the soprano soloist at the Riverside Church where he was organist - the Riverside Church is also the place where the recordings were made). I also heard Mr. Fox live and found him to be a first-class artist. I can recommend the CD without reservation. Alexander Stevenson

!.......2003-11-19

This CD is just a small sample of the greatness of Virgil Fox. However, it is a must-have. It demonstrates the breadth of works which Fox mastered and in the more sentimental songs, those which he beautifully interpreted during his illustrious career; and these recordings at Riverside Church are an indispensable part of his legacy. The program starts with the majestic "We All Believe in one God", where we hear the control of dynamics and unique way Fox played Bach. Vaughn-Williams' work is an interesting fantasia on the familiar religious tune. The highlight of the CD is the Perpetuum Mobile. A favorite concert piece of Fox, it is an amazing flurry of notes, showing his amazing mastery of the pedalboard, and building to a tremendous crescendo and brilliant arpeggio. Giga is a rapid, merry piece which romps along in the manuals. Tracks 1-4 are the virtuoso organ pieces. Starting with Love's Old Sweet Song, # 5-13, the great interpretations of transcriptions, songs, and sentimental American pieces begin. The piano work Kamenoi Ostrow is a great transcription. A Dream and Calm as the Night are beautiful songs which are beautifully styled on the organ. In short, buy this CD - it is a musical and masterful recording.

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American Song Potpourri
Kalish plays like a pig.
a beautiful rendition of 20th Century American Song

Songs of America

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Tracks:

Beautiful Child Of Song
The Three Poems By Robert Frost: Dust Of Snow
The Three Poems By Robert Frost: The Rose Family
Four American Indian Songs, Op. 45, No. 4: The Moon Drops Low
Home Thoughts
White Moon
Joy
The Widow's Lament In Springtime
Three Solitary Songs: American Primitive
The Sleeper
Mutability: My Father
Nothin' But Love
I Love You Truly
Her Greatest Charm
The Junk Man
Lost
Five Songs For Contralto: Little Four Paws
Time To The Old: Dozing On The Lawn
Song (She Is Not Fair)
The All-Enduring
Lethe
Poems Of Love And The Rain: Interlude
Time, You Old Gypsy Man
Suite, Three Ladies: Grandma (Millie)
Stein Times Seven: Stein Times Seven: No. 6
Cabaret Songs: Waitin
Twelve Poems Of Emily Dickinson: There Came A Wind Like A Bugle
Sunrise, For Voice, Violin, And Piano

Customer Reviews:

American Song Potpourri.......2000-08-01

The 28 songs on this CD provide a broad spectrum of American art songs. JanDeGaetani possesses a beautiful mezzo-soprano voice and ideally expresses the proper emotions these songs require. Gilbert Kalish's piano supplies the necessary support without getting in the way of the singer. All in all, this is a good collaboration.

Kalish plays like a pig........1999-12-02

While I enjoyed De Gaetani's singing, Kalish's piano playing reminded me of a player piano.

a beautiful rendition of 20th Century American Song.......1999-06-06

This is a great album. It spans the spectrum of 20th Century American music from the tonality and romanticism of Stephen Foster to the experimentality of John Cage.

Jan DeGaetani and Gilbert Kalish, with their understanding and sensitivity to the music of their time, combine to form a duo that sets the standard for interpretation of this music.

Students, professionals, and general classical music lovers will cherish this CD in their library.

Tracks:

Fl And Hp Con in C, K299: I. Allegro - Lisa Beznosiuk/Frances Kelly
Fl And Hp Con in C, K299: II. Andantino - Lisa Beznosiuk/Frances Kelly
Fl And Hp Con in C, K299: III. Rondeau: Allegro - Lisa Beznosiuk/Frances Kelly
Andante in C, K315 - Lisa Beznosiuk
Bn Con in B flat, K191: I. Allegro - Danny Bond
Bn Con in B flat, K191: II. Andante Ma Adagio - Danny Bond
Bn Con in B flat, K191: III. Rondo: Tempo Di Menuetto - Danny Bond
Fl Con NO.1 in G, K313: I. Allegro Maestoso - Lisa Beznosiuk
Fl Con NO.1 in G, K313: II. Adagio Ma Non Troppo - Lisa Beznosiuk
Fl Con NO.1 in G, K313: III. Rondo: Tempo Di Menuetto - Lisa Beznosiuk

Customer Reviews:

Superb Bassoon Concerto.......2007-06-15

The Bassoon Concerto here is really neat, even though it is a "historically informed" performance. I think it stands up nicely to the modern instrument performances done by The Academy of St. Martin in the Fields, Bohm and the VPO, Karajan and the BPO, et al. I was really worried that since period Bassoons are much softer than modern ones that it would not come through the orchestra. This proved to be untrue; the Bassoon is always present. The stylistic interpretations of the piece are also unique.

The two flute concertos are also performed very well.

Great disc, if you can find it.

Average customer rating:

More Songs My Father Taught Me

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
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Songs My Father Taught Me
Sir Thomas Allen sings Selected Songs
On the Idle Hill of Summer: Song Cycles & Songs by Vaughan Williams, Butterworth, Quilter, Peel
Songs We Forgot to Remember
A Treasury of English Song

ASIN: B00009L817
Release Date: 2003-08-12

Tracks:

Water O' Tyne
I Heard You Singing
Will You Go With Me?
A Cradle Song
A Song Of Sleep
The Green Hills O' Somerset
Mountain Lovers
I'll Sing Thee Songs of Araby
Mother Machree
Roses Of Picardy
There's A Long, Long Trail A-Winding
The Old Brigade
Yes! Let Me Like A Soldier Fall
Because
Love's Old Sweet Song
Star Of God
Friend O' Mine
Simon The Cellarer
Time To Go
Echo
The Songs Of Today
Just A-Wearyin' For You
Down By The Sally Gardens
Orpheus With His Lute
Kashmiri Song
In The Gloaming
The Star Of The County Down
A Perfect Day
She Moved Thro' The Fair

François Devienne: Six Sonatas pour un Basson aven un Accompagnement de Basse

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François Devienne: Six Sonatas pour un Basson aven un Accompagnement de Basse

Manufacturer: Accent Plus
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
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