Two More Years [CD-single] [Import]

1. Two More Years

2. Hero

3. Two More Years - Video [CD-ROM Track]

4. Banquet [the Streets Mix] [CD-ROM Track]

Editorial Reviews

Product Description
Two More Years is the brand new single from Bloc Party, and their first new material since their Mercury Nominated debut album Silent Alarm. Marking a slight progression from their trademarked artrock sound, 'Two More Years' finds the band at their most accomplished, adding pulsating synth drums and layered atmospheric keyboards into the 80's melting pot of chugging riffs and ethereal vocals to provide their strongest single to date. This enhanced single features the title track backed by 'Hero' and the videos for 'Two More Years' and 'Banquet (The Streets Mix)'. Wichita. 2005.

Two More Years,Bloc Party,Wichita Recordings,5"CD Singles,England,Indie Rock,Rock

Two More Years [CD-single] [Import]

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Two Pieces: Slowly 2:18
Two Pieces: Quite fast 1:21
Metamorphosis (1938) 16:18
Bacchanale (1940) 9:24
The Perilous Night (1944) 13:25
Tossed As It Is Untroubled (1943) 2:36
A Valentine out of Season (1944) 4:01
Root of an Unfocus (1944) 4:22
Two Pieces for Piano: I. 4:43
Two Pieces for Piano: II. 7:44
Prelude for a Meditation (1944) 2:27
Music for Marcel Duchamp (1947) 6:01
Suite for Toy Piano: I. 1:31
Suite for Toy Piano: II. 1:24
Suite for Toy Piano: III. 2:04
Suite for Toy Piano: IV. 1:54
Suite for Toy Piano: V. :53
Dream (1948) 9:18
Piece for Four Pianos (1957) 7:13
Intersection 3 for Piano (1953) 2:42
Extensions 4 for Three Pianos (1952-1953) 6:06
Two Pieces for Two Pianos: I 1:13
Two Pieces for Two Pianos: II. 1:17
Projection 4 for Violin and Piano (1951) 5:09
Structures for String Quartet (1951) 5:17
Extensions 1 for Violin and Piano (1951) 5:48
Three Pieces for String Quartet: I. 4:30
Three Pieces for String Quartet: II. 6:12
Three Pieces for String Quartet: III. 3:48

Product Description

This double-CD set combines two of the key titles of Columbia Records's legendary "Music of Our Time" series curated by David Behrman. Jeanne Kirstein's recording of Cage's early keyboard works remains a touchstone of Cagean interpretation notwithstanding the passage of time. Christian Wolff recalls, "I remember Cage saying that Jeanne Kirstein's playing caught the spirit in which the pieces were written at the time he wrote them--a kind of simple excitement and enthusiasm (also, surely, out of the discovery of the preparing of the piano and the great new sounds)." The seminal 1959 Columbia LP that introduced Feldman's work to the listening public features historic performances that still resonate with passion and conviction more than four decades later. The works maybe divided into three categories: the earlier, precisely notated music (Extensions 1 for Violin and Piano, Extensions 4 for Three Pianos, Two Pieces for Two Pianos, Structures for String Quartet, Three Pieces for String Quartet); the first graphic notation pieces (Intersection 3 for Piano, Projection 4 for Violin and Piano); and the first free durational composition (Piece for Four Pianos). To quote a prescient critic of the time, "[All eight works are] are full of spots, sparks and spangles of radiant color; a single note becomes an event of epical portent; the final result is to compact hours into seconds with an almost overwhelming intensity and depth of feeling."

The British Music Collection: Peter Warlock

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The British Music Collection: Peter Warlock

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Songs by Peter Warlock
A Warlock Centenary Album
Warlock: Capriol Suite; The Curlew; Six Italian Dance Tunes
English String Miniatures 5

ASIN: B00005QDYO
Release Date: 2004-03-09

Tracks:

I. Basse Danse - Nicholas Kraemer
II. Pavane - Nicholas Kraemer
III. Tordion - Nicholas Kraemer
IV. Bransles - Nicholas Kraemer
V. Pieds-En-L'air - Nicholas Kraemer
VI. Mattachins (Sword Dance) - Nicholas Kraemer
Serenade For Strings - Nicholas Kraemer
Lullaby My Jesus (Transfer. Carter) - David Hill
Youth (Robert Weaver)
As Ever I Saw
There Is A Lady Sweet And Kind (Thomas Ford)
Whenas The Rye Reach To The Chin (George Peele)
Sigh No More, Ladies (William Shakespeare)
Sleep (John Fletcher)
Pretty Ring Time (William Shakespeare)
Jillian Of Berry (Fletcher Beaumont)
The Bayley Berith The Bell Away (Anon)
Passing By (Anon)
The Frostbound Wood (Bruce Blunt)
Robin Goodfellow (Anon)
Twelve Oxen (Anon)
Yarmouth Fair (Hal Collins)
Romance (Robert Louis Stevenson)
To The Memory Of A Great Singer (Robert Louis Stevenson)
After Two Years (Richard Aldington)
The Droll Lover (Anon)
Ha'nacker Mill (Hilaire Belloc)
My Own Country (Hilare Belloc)
The Birds (Hilaire Belloc)
Elore Lo (Anon)
The Fox (Bruce Blunt)
Fair And True (Nicholas Breton)
Roister Doister (N. Udall)
The Criketers Of Hambledon (Bruce Blunt)

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Two mainstream tintinnabuli pieces and one peculiar oddity
Music for Solace, for the Soul, for Contemplation
Not serene
The Beauty of Absence
Very special, but not the best introduction to Part

Miserere

Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Lamentate
Litany
Arvo Pärt: De Profundis
Arvo Part: Kanon Pokajanen
Arvo Pärt: Passio

ASIN: B000024ZBC
Release Date: 2000-03-07

Tracks:

Miserere
Festina Lente
Sarah Was Ninety Years Old

Customer Reviews:

Two mainstream tintinnabuli pieces and one peculiar oddity.......2007-06-13

For over two decades ECM has been issuing disc after disc of Arvo Part's music to much acclaim, but MISERERE remains one of the more neglected such releases. Sure, there's nothing here that forms such a concise example of his mature output as on the legendary Tabula Rasa disc, but the three pieces here are nonetheless engaging. Plus, the performers here are world-class (and Part's own favourites): the Hilliard Ensemble on the two vocal pieces, featuring among others virtuoso organist Christopher Broadbent-Bowers and percussionist Pierre Favre, and the Beethovenhalle Orchestra conducted by Dennis Russell Davies in the piece for strings.

Clocking in at over half an hour, "Misere" for soloists, chorus, ensemble, and organ (1989) is one of Part's longest pieces. Mainly a setting of Psalm 51, the piece begins with the tenor intoning the psalm with the simplest accompaniment, and expands to include a counter-tenor and a few more instruments. Several minutes in, however, the full force of the choir and ensemble is unleashed as portions of the "Dies Irae" are included, before returning to a calmer mood and the text of the psalm. Usually this sort of soft-loud-soft transition is obnoxious--I'm thinking of composers such as Kancheli who do it all the time--but here it is quite moving. An usual touch in the loud section is the use of electric guitar and bass. It's interesting that for this generation of Soviet composers (Part alongside Gubaidulina and Schnittke) these instruments are exploited for darker or more threatening moods. At two thirds of the way through the music begins to sound outright joyful and ends on the same uplifting mood that the psalm does.

"Festina Lente" (1988-1990) is a mensuration canon, making it similar to the loud passage of "Misere" as well as earlier pieces such as "Cantus in memoriam Benjamin Britten" and "Arbos". Now, those latter two were slow and fast, respectively, but in "Festina Lente" Part expresses the mood of the title ("Make haste slowly") but keeping a slow tempo but adding a lot of spiky eighth notes. The lack of a brass makes the piece unusually lush for Part, making it seem in the end like a more contemplative Rautavaara. The piece is entertaining, but one can't help that Part is repeating himself.

The last piece on the disc is rather strange. "Sarah was Ninety Years Old" for soprano, 2 tenors, organ & percussion (1977) was written after Part ended his long silence in the 1970s and introduced his new tintinnabuli technique, but it itself is not a tintinnabuli piece. Most of the work consists of slow rhythms beaten out by the percussion that symbolize the many years that Sarah was barren, though at a couple of points the tenors intervene for a few minutes. Only towards the very end of the twenty-five minute span, however, do the soprano and organ enter. Certain portions of the piece are engaging; the percussion reminds me of Norgard's "Waves" and the writing for soprano is wild. However, when Part seeks to express dreary waiting, the audience is going to get rather bored as well. This is quite a curiosity, however, so the Part fan should check it out even if it's an unsuccessful work.

If you are looking for an introduction to Arvo Part, the famed Tabula Rasa disc is probably the best one. Nonetheless, you might find yourself enraptured by his soundworld, and the other ECM discs, including this one, would make a good addition to your collection.

Music for Solace, for the Soul, for Contemplation.......2005-02-21

Arvo Part fills a void in the musical network of contemporary compositions. He creates much out of little, using minimal notes and phrases, repeating these with subtle variations, as though he were creating an atmosphere for Zen-like trance states.

The three works here recorded with utmost clarity and restraint are from Part's deeply religious vein. The 'Miserere' emerges from the silence of the depths of the earth and transcends the human supplicants to become a pathway to the ethereal presence that in this realm is guardian to us all. The Hilliard Ensemble performs with radiant perfection. The 'Feste Lente' is an adagio for strings with ad libitum harp and is quiet and simple and in direct communication with the spirit. The final work 'Sarah was ninety years old' is more a cross between Buddhist intonations and Gregorian chant than anything else. This seems like music written for the high spaces in the domes of Europe's largest cathedrals, the area where the sounds of light distant winds suggest the flutter of angel wings. And Part achieves all of this with three solo voices, organ and timpani.

Perhaps saving this recording for darkened rainy afternoons brings this otherworldly music to life in an even more poetic way. There is an affinity for the transparency and repetition of notes in these works that marries well with birthing clouds and the rain that comes and goes. For soothing the soul this is one viable source. Grady Harp, February 2005

Not serene.......2004-09-10

The enclosed booklet states that Pärt's music is "unaffected by the...techniques...offered us in luxurious array by the music industry...his work remains pure and unpretentious." This last especially is true, but the ECM production enhances the power of these works immeasurably through a recording technique often used in pop music to make a singer's voice sound stronger and fuller. This is especially apparent in the opening of "Miserere" and the drumming in "Sarah was Ninety Years Old." Whether this was purely the composer's intention or added in production is difficult to say, as I have not heard any other versions of these compositions, but the result is magnificent. Pärt's work is often described as "serene;" that quality is not in evidence in "Miserere" which especially showcases his genius in the art of building and releasing tension. While not cacophonous and dissonant as some of Pärt's early works, such as "Perpetuum Mobile" and his Second Symphony, "Miserere" is a truly exciting and powerful work with a haunting and unforgettable opening. Pärt employs the hocket technique, or "call and response" of two melodic lines, often heard in African music, here alternating between voice and tones on the clarinet. The interpretation of "Festina Lente" is more lush than the version on Naxos 8.553750, although it may be overshadowed on that disk by its juxtaposition with several versions of "Fratres." Here it provides a transition between the expansive "Miserere" and the odd "Sarah," a 25-minute alternation between long sections of repetitive drumming and wordless vocalizations.

The Beauty of Absence.......2003-06-08

Despite Part's most recent work `Orient and Occident' or indeed his `LamenTate' scored for Anish Kapoor's remarkable sculpture at the Tate Modern, Miserere still exists as a celestial and cavernous masterpiece, overshadowing or rather still evidently commanding his present work.
Scored for an extraneous cacophony of the finest soloists (the favourites from the Hilliard Ensemble), chorus and orchestra, the dimension of sound created within the stases of extreme texture-both restrained and humble against the declarative and mighty his effect is extraordinarily overwhelming on both scales.
One is made ultimately aware of a direct embodiment of the composer's ineffable intent. And so with a conscious recourse to previous works such as `Arbos' scored simply for brass, rhythmic and harmonic themes are notably recurrent in the gigantic descending syncopated chorus of Miserere.

As one who is well acquainted with Part's penchant for divine simplicity, new listeners will become immediately infatuated with the striking delicacy of restrained melody and contrapuntal purity heard throughout all tracks in this compilation.
This is devotional music by a devotional man but do not be mislead by the apparently pristine and pious intent,. Part is often wrongly associated by means of orthodoxy with his contemporary, the somewhat priggish, Sir John Tavener. I can do no more for my readers than holler my own distaste for such associations, however biased I might appear. Part's music is clandestine as far as one can allow intellectually, and albeit religiously bound, it withholds an identity so profoundly unattainable elsewhere that is almost torturous to subject ones ear to it.

One does not find in Part, the pastoral reconcilement nor the vexatious Avant Gardism that might be expected from an Eastern European War Child. The silence, indeed the echo of nothingness imbued in that swarthy, infinite space is intoxicating to the very pinnacle of obsession.

What one is able to attain is the diaphanous awareness of a profound absence. However this absence is interpreted is, ultimately, the prerogative of the listener.

Very special, but not the best introduction to Part.......2001-02-08

This disc is a single-composer study, of which it can be said that some items are better examples of his work than others.

Two works on this disc show Part's tintinnabuli style in full bloom. "Miserere" itself is over thirty minutes long, and by far the best item in the programme. A setting of Psalm 51 in Latin (the same text as set in the famous Allegri "Miserere") with verses interpolated from the "Dies Irae" of the Missa pro Defunctis, this work shows how Part's style can magically draw a wealth of emotions from the simplest of musical concepts. Indeed, the work opens with the barest of motifs: the words of the psalm are chanted on three notes by a high solo tenor, interspersed with triadic statements (the so-called tintinnabuli pitches) on clarinet, and moreover bound together with distinct silences. This develops as the text unfolds: a solo counter-tenor joins the tenor in a haunting duet; meanwhile the instrumental ensemble expands to include other woodwinds and organ, all of which offer what appears to be a delicate wordless commentary. An abrupt change of pace comes with the "Dies Irae" verses, sung by a four-part chamber choir with massive, apocalyptic statements from woodwinds, brass, organ, percussion and electric guitars (!) - yet all is in the same style as the opening. After this massive outburst of terror, the opening discourse returns, sung by soloists (soprano, counter-tenor, two tenors and a bass). The interplay of voices and instruments carries the text forward in strikingly beautiful and sensitive ways. The work ends, in pure penitence and supplication, with a further choral statement, this time sung with heart-rending quietness: the "Rex tremendae" verse of the "Dies Irae," bringing the work to a close. It truly is one of Part's masterpieces - a proof that the extreme simplicity of the tintinnabuli style need not be limited to small-scale works, and can indeed break free of sounding annoying or repetitive. Recorded here in a very generous acoustic, played and sung with clarity and gravity, and carrying a beautifully sustained emotional weight, this is a definitive performance - a real gem.

The other tintinnabuli work (track 2) is "Festina lente" - "hurrying slowly" - which is scored for string orchestra and harp and makes use of the mensuration canon technique employed by the composer in "Miserere" and other works. This is a softer and more direct piece than "Miserere," but the effect is refreshing after the profound writing of the former - and like "Miserere," it is sensitively performed here.

The last work on the disc may at first seem off-putting. "Sarah was ninety years old" was composed just prior to Part's formation of tintinnabuli (he had previously written serial music, like that of Schoenberg). It is a minimalist piece - the first four minutes or so feature nothing but a single drum, played with two beaters to produce alternating timbres of sound. These timbres are hacked out in a single rhythmic pattern that never seems to end: this is said to symbolise the ninety years of barren life lived by Sarah, wife of Abraham in the biblical book of Genesis. Presently, two tenors enter with an array of chords, cycling around each other and also set to a basic repeating rhythm. After more knocking from the drum and more very simple vocal droning, the organ enters, massive yet restrained, and an ecstatic solo soprano takes up the wordless narrative - Sarah conceives a child, the first of many that became the Israelites in the Genesis story. At first hearing (and perhaps several subsequent ones) this piece will seem dull and pointless; it does have a remarkable meaning, however, and it is quite gem-like even as it is barren and seemingly devoid of musical content.

Tracks:

Begin the Beguine [From Jubilee]
All Through the Night [From Anything Goes]
I Concentrate on You [From Broadway Melody of 1940]
I Love You [From Mexican Hayride]
Night and Day [From the Gay Divorcee]
In the Still of the Night [From Rosalie]
I've Got You Under My Skin [From Born To Dance]
Blow, Gabriel, Blow [From Anything Goes]
Just One of Those Things [From Jubilee][*]
Medley: Hallelujah! /Time on My Hands [from "Hit the Deck"]
Tea for Two [From No, No, Nanette]
Carioca [From Flying Down to Rio]
Medley: Without a Song/Great Day [From "Great Day"]
More Than You Know [From Great Day]
Orchids in the Moonlight [From Flying Down to Rio]
Medley: Sometimes I'm Happy/I Know That You Know
Medley: Through the Years/Drums in My Heart [From Smiling Through]
I Know That You Know [From "Oh, Please"]
Through the Years [From "Smiling Through"]
Drums in My Heart [From "Smiling Through"]

Customer Reviews:

Kostelanetz Treasures.......2001-02-08

In my opinion, the composer series recordings by Kostelanetz are among his best. The arrangements are for full orchestra and some of the best examples of Kostelanetz' passion and insight into the golden age of musical theatre. Six of the Cole Porter selections I had on '78s when they were first recorded, and the arrangements are the essence of Cole Porter. Kostelanetz indeed, plays the words, that is, during recording sessions,the orchestra members had the lyrics as well as the music on their music stands. My favorite is Porter's "I Love You". The Kostelanetz strings have a way of reaching my heart strings - it seems to express in music the way I feel about my wife of 42 years - you guessed it - I'm in my late 60's. I have this CD on back order, and have not really listened to it - but I have enjoyed these recordings for many years. However, to evaluate the quality of sound on these CDs I purchased the CD in the same series "Music of Irving Berlin" . The sound is outstanding, and true to the Kostelanetz original recordings. The Vincent Youmans recordings are a bit newer and first appeared on mono-LP. Again, they are excellent Kostelanetz arrangements and outstanding performances. What a treasure to find both of these wonderful LP recordings on one CD. I expect to have my copy of this CD from Amazon within the next week or so, and I will update this review after listening.

Music For Queen Mary-A Celebration Of The Life And Death Of Queen Mary

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a voice teacher and early music fan
Joy and sadness perfectly combined
Good music, okay performances

Music For Queen Mary-A Celebration Of The Life And Death Of Queen Mary

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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

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

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The Coronation of King George II / The King's Consort · Robert King
Glorious Sound of Brass

ASIN: B000002AP6
Release Date: 1995-04-04

Tracks:

Anthem: I Was Glad
Anthem: Praise The Lord, O Jerusalem
Whilst He Abroad Does Like The Sun
The Sullen Years Are Past
Stript Of Their Green Our Groves Appear
ODE FOR QUEEN MARY'S BIRTHDAY: Symphony
ODE FOR QUEEN MARY'S BIRTHDAY: Chorus: Now Does The Glorious Day Appear
ODE FOR QUEEN MARY'S BIRTHDAY: Verse: Not Any One Such Joy Could Bring
ODE FOR QUEEN MARY'S BIRTHDAY: Tenor Solo: This Does Our Fertile Island With Glory Crown
ODE FOR QUEEN MARY'S BIRTHDAY: Chorus: Now Does The Glorious Day Appear
ODE FOR QUEEN MARY'S BIRTHDAY: Bass Solo: It Was A Work Of Full As Great A Weight
ODE FOR QUEEN MARY'S BIRTHDAY: Countertenor Solo: By Beauteous Softness Mixt With Majesty
ODE FOR QUEEN MARY'S BIRTHDAY: Verse: Her Hero, To Whose Conduct And Whose Arms
ODE FOR QUEEN MARY'S BIRTHDAY: Verse: Our Dear Religion
ODE FOR QUEEN MARY'S BIRTHDAY: Tenor Solo: No More Shall We The Great Eliza Boast
ODE FOR QUEEN MARY'S BIRTHDAY: Symphony
ODE FOR QUEEN MARY'S BIRTHDAY: Chorus: Now With One United Voice
ODE FOR QUEEN MARY'S BIRTHDAY: O Dive Custos - Elegy On The Death Of Queen Mary
ODE FOR QUEEN MARY'S BIRTHDAY: Incassum, Lesbia - The Queen's Epicedium
The Queen's Farewell. March
The Queen's Farewell. March
March
THE BURIAL SERVICE: I Am The Resurrection (Morley)
THE BURIAL SERVICE: Thou Knowest, Lord (Purcell)
THE BURIAL SERVICE: Canzona (Purcell)
THE BURIAL SERVICE: I Heard A Voice (Morley)

Customer Reviews:

a voice teacher and early music fan.......2006-01-27

Purcell compositions for Queen Mary span the whole of her brief reign. He provided music for her coronation, on April 11,1689; for the formal celebraton of her birthday on April 30 each year; and for her funeral, on March 5, 1695. At the coronation of William and Mary his 'I was glad' was one of 9 anthems performed during this ceremony. Purcell, in his position as Abbey Organist had tailored the music with precision. The opening passage is in stately block chords-straightforward for the choir to co-ordinate while proceeding along the nave, and arriving in their places just in time to watch the conductor for the closing bars. Later in the service the 2nd anthem by Purcell was sung:"Praise the Lord, O Jerusalem",
The centerpiece of this disc is the Ode for Queen Mary's birthday"Now does the glorious day appear" and glorious it is!!! It is divided into 14 sections; some solos, some duets and some choruses. It was easily the finest royal ode he had as yet composed, and also the most richly scored; laid out for five part strings, the violas being divided. Thanks to this exotic scoring, the ode abounds in moments of gorgeous opulence. For Mary's funeral services (she died at the age of 33) Purcell composed 3 pieces all included in this disc and all memorable.
The performers include Westminster Abbey Choir; the New London Consort; soloists: sopranos Emma Kirkby and Evelyn Tubb-countertenor Michael Chance-tenor Ian Bostridge-basses Stephen Richardson and Simon Birchall. All of this under the direction of Martin Neary.
The notable distinction of this recording is as follows and I quote from the accompanying jacket:"Complete music for Queen Mary's funeral, newly assembled and edited, and performed in Westminster Abbey by the Abbey Choir for the first time since 1695". The recording is beautifully adorned inside and out, and the sticker on the outside proclaims that it is music featured in the Westminster Abbey Funeral service fo Diana, Princess of Wales.

Joy and sadness perfectly combined.......2000-02-19

This CD is subtitled "A Celebration of the Life and Death of Queen Mary" and it thus divides into two sections. To begin with, we hear a number of works written for the Queen during her life, among which are short songs by John Blow (including "The sullen years are past" which has never been recorded before) and a massive setting of one of many odes for the royal birthday celebrations by Henry Purcell - "Now does the glorious day appear," which is a sweeping and powerful work with a variety of ground bass arias, duets, recitatives, choruses and orchestral symphonies - all making for a fine and rewarding listening experience.

In the second section, the focus moves onto music written during the mourning period after Queen Mary's death. Purcell continues to prove himself the greatest composer of the time, in his semi-sacred songs (in Latin) mourning her death, and in the music he wrote for her funeral. This section is indeed a highlight of the disc as it attempts, in a very scholarly way, to recreate the funeral in the Abbey as it might have sounded in 1695, with the Funeral Sentences by Thomas Morley interspersed with Purcell's own material and a number of Farewell Marches for trumpets and drums only.

The members of the Abbey Choir under Martin Neary do an admirable job of stepping into the shoes of their forebears under Purcell; accompanied by the period instrument-equipped New London Consort, the sound is truly magnificent. In addition, a number of prestigious soloists appear, including Emma Kirkby and Ian Bostridge (undoubtedly key performers for capturing the purity and delicacy of this music), Michael Chance (who seems a little under-utilised), Stephen Richardson (a rich and profound bass voice if ever I heard one) along with members of the Abbey Choir itself. Of special note- one does not often find a choral CD on which all three senior musical officials at the cathedral (Organist, Assistant Organist and Organ Scholar) are heard playing, but this is one such recording: Martin Baker and Stephen Le Prevost fill in organ continuo parts in various places, as does Dr Neary himself (who also plays the harpsichord for most of the solo pieces).

Arc of Light have done it again- a recording of extreme loveliness, going right down to the packaging which features some beautiful artistry (in fact, the main cover photograph is given an explanation in the booklet notes owing to the special way in which it was produced). A true gem in all respects.

Good music, okay performances.......1999-03-26

This disc presents a somewhat eclectic collection of music devoted to Queen Mary (mostly by Purcell, but by some other contemporaries as well). Despite the common theme I couldn't get rid of the feeling that the pieces didn't "click." Neither did the soloists sound at ease. Michael Chance, perhaps, deserves the most praise. But alas, some of the pieces that he normally sings (e.g. Incassum Lesbia) were given to sopranos, who couldn't do them nearly as much justice. The voice of one of the sopranos kept cracking up (don't know which one: the past-her-prime Emma Kirkby or whoever-she-is Evelyn Tubb). Ian Bostridge is undeniably a great performer, mainly known for his brilliant lieder interpretations. I don't want to say that baroque is not his cup of tea because he is vocally well suited to this repertory. Yet I didn't think he was as great in Purcell as many of his countrymen, such as John Mark Ainsley, Charles Daniels or Mark Padmore (to the extent one recording is enough of a basis to judge, which perhaps it is not). I don't want to be unfair, but I've heard Purcell performed better. This is not a bad recording, just not the best.

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Canadian Brass: CBC Radio Years

Manufacturer: Cbc
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004STPZ
Release Date: 2000-05-30

Tracks:

Galliard Battaglia
Fant
Cantate Domino - The Festival Sgrs/Elmer Iseler
Canzona Prima
Canzon III Septimi Toni
Canzon Primi Toni - Douglas Haas
Jesu, Joy Of Man's Desiring
Ein Kindlein So Loblich - The Festival Sgrs/Elmer Iseler
Three Pieces: Muy Linda
Three Pieces: Pavan
Three Pieces: Galliard
German Dance Ste: Intrada
German Dance Ste: Sarabande
German Dance Ste: Intrada
German Dance Ste: Gigue
German Dance Ste: Intrada
I Cieli Immensi - Douglas Haas
Sagittarius: First Movt: Semplicamente; Allegro Con Brio - Canadian Brass/Nat Arts Centre Orch/Mario Bernardi
Qnt: Prld, Dedicated To Robert Prevost
Qnt: Epitaphe, Dedicated To The Memory Of Rudolphe Mathieu
Qnt: Prospection, Dedicated To Serge Garant
Verdum: Poeme Heroique, Op.33 - Douglas Haas
The Favorite
Fig Leaf Rag

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Youmans: Orchids in the Moonlight

Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Movie Scores | Soundtracks | Styles | Music

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General | Soundtracks | Styles | Music

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Ragtime | Traditional Jazz & Ragtime | Jazz | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

After The Ball plus Highlights from Vaudeville
Moonlight Bay: Songs as Is Songs as Was

ASIN: B000000T94
Release Date: 1996-04-09

Tracks:

Orchids In The Moonlight
Be Good To Me
I Know That You Know
Time On My Hands
I Want To Be Happy
Like He Loves Me
Kissing
Hallelujah!
Kathleen Mine
Flying Down To Rio
An Armful Of You
Oh Me! Oh My!
Without A Song
Great Day!
That Forgotten Melody
My Lover
Sometimes I'm Happy
More Than You Know
Through the Years
Toodle - oo
Tea For Two

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Collection: Say It With Music (Dlx)
Andr Kostelanetz
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

General | Soundtracks | Styles | Music

General | Easy Listening | Pop | Styles | Music

Easy Listening | Pop | Indie Music | Stores | Music
ASIN: B00007L8X4
Release Date: 2003-02-18

Tracks:

Say It With Music Remember Blue Skies
Top Hat White Tie And Tails How Deep Is The Ocean (How High
This Is The Army Oh How I Hate To Get Up In The Morning Soft
Whatll I Do Always The Song Is Ended (But The Melody Lingers
The Piccolino Cheek To Cheek
White Christmas
The Girl That I Marry Say It Isnt So Mandy
Give Me Your Tired Your Poor God Bless America
Smoke Gets In Your Eyes Yesterdays
Ive Told Every Little Star The Song Is You
The Night Was Made For Love She Didnt Say Yes All The Things
Look For The Silver Lining They Didnt Believe Me Long Ago (A
I Dream Too Much The Jockey On The Carrousel
Why Was I Born The Way You Look Tonight Who
Make Believe Bill
Why Do I Love You You Are Love Ol Man River
Fascinatin Rhythm
Mine
The Man I Love
Embraceable You Soon
I Got Rhythm
Bess Oh Wheres My Bess
S Wonderful
Maybe
Someone To Watch Over Me Oh Lady Be Good
Embraceable You
Strike Up The Band
Begin The Beguine
All Through The Night
I Concentrate On You
I Love You
Night And Day
In The Still Of The Night
Ive Got You Under My Skin
Blow Gabriel Blow
Just One Of Those Things (Bonus Track)
Hallelujah Time On My Hands
Tea For Two
Carioca
Without A Song
More Than You Know
Orchids In The Moonlight
Sometimes Im Happy I Know That You Know
Through The Years Drums In My Heart
Malaguena
La Cumparsita
Mexicana Medley
Yours (Quiereme Mucho)
Siboney
Caminito
Adios
No Taboleiro De Bahiana
The Moon Of Manakoora
Lotus Land
Kashmiri Song
Jamaican Rhumba
Flamingo
Poinciana (Song Of The Tree)
Andalucia
Sweet Leilani (Bonus Track)
Frenesi (Cancion Tropical) (Bonus Track)
Show Boat
South Pacific
Slaughter On Tenth Avenue
An American In Paris
Porgy And Bess

Album Description

The multi-faceted Andre Kostelanetz left his mark on the music world as an acclaimed conductor/arranger/accompanist. His most notable contribution is the creation of the Easy Listening genre, done by bridging the gap between Classical and Pop music. Highlights on this 6 CD box set include Irving Berlin's 'Cheek To Cheek', George Gershwin's 'The Man I Love' and Jerome Kern's 'Smoke Gets In Your Eyes'. Includes 3 bonus tracks 'Just One Of Those Things' (Cole Porter), 'Sweet Leilani' (from Waikiki Wedding) & 'Frenesi' (Cancion Tropical). Standard jewel cases housed in a deluxe wooden box w/hinged lid (approx. 6 x 5''). Collectables. 2003.

Centenary Edition - 100 Years of Great Music

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Centenary Edition - 100 Years of Great Music

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

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Czech | Languages | Opera & Vocal | Styles | Music

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

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

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Classical | Box Sets | Stores | Music
ASIN: B000002S8V
Release Date: 1997-02-18

Tracks:

Ave Maria, D.839 - Edith Clegg
C'Est L'Histoire Amoureuse - Ellen Beach Yaw
Vn Con in e: III. Allegretto Non Troppo-Allegro Molto Vivace (Extract) - Jacques Jacobs
Les Filles De Cadix - Marie Tempest
The Queen Of Spades, Act 3: It Is Nearly Midnight Now - Medea Mei-Figner
Pagliacci, Act I: Recitar!...Vesti La Giubba - Enrico Caruso
Faust, Act IV: Vous Qui Faiter I'Endormine - Pol Plancon
Carmen, Act I: L'Amour Est Un Oiseau Rebelle (Habanera) - Emma Calve
Die Walkure, Act III: Leb' Wohl, Du Kuhnes, Herrliches Kind - Anton van Rooy
Heidenroslein, D257 - Minnie Nast
Die Forelle, D.550 - Leopold Demuth
The Mikado, Act 2: A More Humane Mikado - Richard Temple
Hungarian Dance No.2 in d - Joseph Joachim
Otello, Act I: Esultate! - Francesco Tamagno
Lyric Pieces, Op.43 No.6: To The Spring - Edvard Grieg
Simon The Cellarer - Sir Charles Santley
Caprice Basque, Op.24 - Pablo De Sarasate
Pelleas Et Melisande, Act III: Mes Longs Cheveux - Mary Garden
Lucia Di Lammermoor, Act II: Del Ciel Clemente - Dame Nellie Melba
Otello, Act II: Era La Notte - Victor Maurel
Il Barbiere Di Siviglia, Act I: Ecco Ridente In Cielo - Fernando Di Lucia
Die Konigin Von Saba, Act II: Magische Tone - Leo Slezak
Don Giovanni, Act I: Or Sai Chi L'Onore - Lilli Lehmann
Il Barbiere Di Siviglia, Act I: Largo Al Factotum - Titta Ruffo
La Sonnambula, Act II: Ah, Non Credea Mirarti - Adelina Patti
Romeo Et Juliette, Act I: Je Veux Vivre Dans Ce Reve - Geraldine Farrar
Don Pasquale, Act III: Va Ben Ma Riflettete...Cheti, Cheti, Immantinente - Giuseppe De Luca/Ferruccio Corradetti

Tracks:

Partita No.3, BWV 1006: Prld in E - Joseph Szigeti
Il Barbiere Di Siviglia, Act I: Una Voce Poco Fa - Elvira De Hidalgo
Dalibor, Act II: Jac Je Mi - Emmy Destinn
Aida, Act III: Qui Radames Verra...O Patria Mia - Celestina Boninsegna
Mireille, Act I: O D'Amor Messagera - Luisa Tetrazzini
Otello, Act II: Si, Pel Ciel Marmoreo Giuro! - Giovanni Zenatello/Pasquale Amato
Die Zauberflote, Act I: Infelice, Sconsolata - Frieda Hempel
An Die Musik, D.547 - Elena Gerhardt
La Serenata - Mattia Battistini
Mazurka in D, Op.19 No.2 - Jan Kubelik
Rigoletto, Act I: Questa O Quella - Ippolito Lazaro
Un Ballo In Maschera, Act III: Saper Vorreste - Selma Kurz
The Demon, Act II: Do Not Weep, Child - Feodor Chaliapin
Etude in f, Op.25 No.2 - Ignacy Jan Paderewski
Andrea Chenier, Act I: Un Di All'azzurro Spazio - Bernardo De Muro
Il Barbiere Di Siviglia, Act I: Se Il Mio Nome - Dmitri Smirnov
Ariadne Auf Naxos: Es Gibt Ein Reich - Maria Jeritza
Lucia Di Lammermoor, Act III: Tu Che A Dio Spiegasti L'Ali - Tito Schipa
Sym No.5 in c, Op.67: I. Allegro Con Brio - Berliner Phil/Arthur Nikisch
Die Schone Mullerin, No.1: Das Wandern - Sir George Henschel
Land Of Hope And Glory - Dame Clara Butt

Tracks:

Die Entfuhrung Aus Dem Serail, Act II: Martern Aller Arten - Maria Ivogun
Ste Algerienne: Marche Militaire Francaise - Camille Saint-Saens
Louise, Act III: Depuis Le Jour - Marie-Louise Edvina
Slavonic Dance No.1 in g, Op.46 No.2 - Jacques Thibaud
L'Africaine, Act IV: Pays Merveilleux...O Paradis - Fernand Ansseau
Rigoletto, Act III: La Donna E Mobile - Miguel Fleta
Falstaff, Act I: L'Onore! Ladri! - Mariano Stabile
Liebestraum No.3 in A flat - Wilhelm Backhaus
Waltz in D flat, Op.64 No.1 - Vladimir de Pachmann
Prld in g#, Op.28 No.12 - Alfred Cortot
The Marschallin Dismisses Octavian (Act I): Der Rosenkavalier (Film Music) - Augmented London Tivoli Orch/Richard Strauss
La Boheme, Act III: Donde Lieta Usci - Dame Nellie Melba
The Planets-III. Mercury, The Winged Messenger - LSO/Gustav Holst
Carmen, Act II: La Fleur Que Tu M'Avais Jetee - Georges Thill
Hear My Prayer: Oh For The Wings Of A Dove - Ernest Lough
Recuerdos De La Alhambra (Tremolo Study) - Andres Segovia
Now Sleeps The Crimson Petal - John McCormack
Die Walkure, Act II: Nun Zaume Dein Ross...Hojotoho! - Frieda Leider/Friedrich Schorr
Aida, Act I: Ritorna Vincitor - Florence Austral
Il Trovatore, Act III: Ah! Si, Ben Mio - Aureliano Pertile
Lohengrin, Act I: Einsam In Truben Tagen - Elisabeth Rethberg
Rigoletto, Act III: Bella Figlia Dell'amore - Benjamino Gigli/Amelita Galli-Curci/Louise Homer/Guiseppe De Luca

Tracks:

Turandot, Act II: In Questa Reggia - EVA TURNER
Nuns' Chorus (Casanova) - Anni Frind
Pno Trio in B flat, Op. 97 'Archduke': II. Scherzo (Allegro) - Alfred Cortot/Jacques Thibaud/Pablo Casals
Das Land Des Lachelns, Act II: Dein Ist Mein Ganzes Herz - Richard Tauber
HMS Pinafore, Act II: Never Mind The Why And Wherefore - Henry Lytton/George Baker/Elsie Griffin
Second Liturgy Of St John Chrysostom, Op.29: The Creed - Paris Metropolitan Russian Church Chor/Nicolai Afonsky
Clavelitos - Conchita Supervia
Boris Godunov, Act III: Monologue Of Boris - Feodor Chaliapin
Vn Con in b, Op.61: III. (Extract) Cadenza-Allegro Molto - Yehudi Menuhin
Pno Son No.14 in c#, Op.27 No.2 'Moonlight': I. Adagio Sostenuto - Artur Schnabel
Heidenroslein D.257 - Elisabeth Schumann
Arrival Of The Queen Of Sheba (Solomon) - LPO/Beecham
Prld And Fugue No.2 in c, BWV 847 - Edwin Fischer
The Floral Dance - Peter Dawson
Voi Lo Sapete, O Mamma (Cavalleria Rusticana) - Claudia Muzio
Etude in G flat, Op.10 No.5 - Vladimir Horowitz
Die Walkure, Act I: Wintersturme Wichen Dem Wonnemond...Du Bist Der Lenz - Lauritz Melchoir/Lotte Lehmann
Toccata in d, BWV 565 - Albert Schweitzer
Goldberg Vars, BWV 988: Aria: Andante Espressivo - Wanda Landowska
Hora Staccato - Jascha Heifetz
Don Giovanni, Act II: Questo E Il Fin Di Chi Fa Mal - Glyndebourne Festival Company/Fritz Busch

Tracks:

Ov - La Scala Di Seta - BBC SO/Arturo Toscanini
Vc Ste No.1 in G, BWV 1007: Prld - Pablo Casals
Mazurka No.5 in B flat, Op.7 No.1 - Arthur Rubinstein
Schon Rosmarin - Fritz Kreisler/Franz Rupp
A Midsummers Night's Dream, Incidental Music, Op.61: Scherzo - Benno Moiseiwitsch
La Paloma - Beniamino Gigli
Jesu, Joy Of Man's Desiring - Dame Myra Hess
Otello, Act I: Esultate! - Giacomo Lauri-Volpi
Die Ruinen Von Athen, Incidental Music, Op.113: Ov - LSO/Felix Weingartner
Les Nuits D'Ete: IV. Absence - Maggie Teyte
O My Beloved Father (Gianni Schicchi) - Joan Hammond
Pizzicato Polka - Wiener Phil/Hans Knappertsbusch
Rejoice Greatly, O Daughter Of Zion (Messiah) - Isobel Baillie
Tunadot, Act III: Nessun Dorma - Jussi Bjorling
Vn Con in d, Op.77: III. Allegro Giocoso, Ma Non Troppo Vivace - Ginette Neveu
Le Carnaval Des Animaux: Le Cygne - Pierre Fournier
Le Nozze Di Figaro: Ov - Wiener Phil/Herbert Von Karajan
The Plough Boy - Peter Pears/Benjamin Britten
Aida, Act I: Ritorna Vincitor - Ljuba Welitsch
Mignon, Act II: Addio Mignon, Fa Core! - Giuseppe Di Stefano
Le Nozze Di Figaro, Act I: Non Piu Andrai - Erich Kunz

Tracks:

Sym No.1 in D, Op.25 'Classical': III. Gavotte (Non Troppo Allegro) - Berliner Phil/Sergiu Celibidache
Otello, Act II: Era La Notte - Tito Gobbi
Kindertotenlieder: Oft Denk' Ichsie Sind Nur Ausgegangen - Kathleen Ferrier
Waltz No.5 in A flat, Op.42 - Dinu Lipatti
Die Schone Mullerin, D.795: Ungeduld - Dietrich Fischer-Dieskau/Gerald Moore
Tristan Und Isolde, Act III: Mild Und Leise (Liebestod) - Kirsten Flagstad
Prlds, Book I - No.10: La Cathedrale Engloutie - Walter Gieseking
Tosca, Act II: Vissi D'Arte - Maria Callas
Hn Con No.4 in E flat, K.495: III. Rondo (Allegro Vivace) - Dennis Brain
Gayaneh, Act III: Sabre Dance - PO/Aram Khachaturian
Die Fledermaus, Act II: Klange Der Heimat - Elisabeth Schwarzkopf
Facade: Popular Song - PO/William Walton
Perpetuum Mobile - Yehudi Menuhin/Gerald Moore
Le Nozze Di Figaro, Act II: Voi Signor, Che Giuto Siete - Sena Jurinac/Graziella Sciutti/Monica Sinclair/Hugues Cuenod/Sisto Bruscantini/Franco Calabrese...
Sym No.5 in c, Op.67: I. Allegro Con Brio - PO/Otto Klemperer
Daphnis Et Chloe, Ste No. 2: Danse Generale - PO/Guido Cantelli
La Boheme, Act I: O Soave Fanciulla - Victoria De Los Angeles/Jussi Bjorling/Robert Merrill
Pno Con in a, Op.16: I. Allegro Molto Moderato (Opening) - Solomon
Standchen, Op.106 No.1 - Hans Hotter/Gerald Moore
Pno Con in G: III. Presto - Arturo Benedetti Michelageli

Tracks:

Ov: Rusian And Ludmilla - Philharmonia Orch/Constantin Silvestri
Faust, Act V: Et Voici Le Jardin Charmant - De Los Angeles
Pno Son No.26 in E, Op.81a, 'Les Adieux' : III. Vivacissimamente (Le Retour) - Claudio Arrau
Vn Con in e, Op.64: II. Andante - Yehudi Menuhin
Don Giovanni, Act I: Signor, Guardate Un Poco - Sutherland/Schwarzkopf/Alva/Giulini
Vc Ste No.3 in C, BWV 1009: Sarabande - Paul Tortelier
The Bartered Bride, Act III: Dance Of The Comedians - RPO/Rudolf Kempe
Cosi Fan Tutte, Act I: Un'aura Amorosa - Alfredo Kraus
Pno Con No.1 in b flat, Op.23, I: Allegro Non Troppo E Molto Maestoso (Opening) - John Ogdon
La Boheme, Act III: Donde Liesta usci - Mirella Freni
3 Gymnopedies: I. Lent Et Douloureux - Aldo Ciccolini
Carmen, Act I: L'amour Est Un Aiseau Rebelle (Habanera) - Maria Callas
Turandot, Act III: Principessa Di Morte - Birgit Nilsson/Franco Corelli
Vc Con in e, Op.85: III. Adagio - Jacqueline Du Pre
Sea Pictures: II. In Haven (Capri) - Janet Baker
Vier Letzte Lieder: Fruhling (Hesse) - Elisabeth Schwarzkopf
Madama Butterfly, Act I: Bimba Dagli Occhi Pieni Di Malia - Renata Scotto
Pno Son in c No.8, Op.13 'Pathetique': III. Rondo (Allegro) - Daniel Barenboim

Tracks:

Polonaise No.6 in A flat, Op.53 'Heroic' 6.55 - Maurizio Pollini
L'amico Fritz, Act III: O Amore, O Bella Luce Del Core - Luciano Pavarotti
Chants D'Auvergne: Bailero - Victoria De Los Angeles
On Christmas Night - Choir Of King's College/Cambridge/David Willcocks
Triple Con in C, Op.56: II. Largo 5.26 - D. Oistrakh/Rostropovich/Richter/Karajan
Turandot, Act I: Signor Ascolta - Montserrat Caballe
'Enigma' Vars, Op.36: Nimrod - LSO/Sir Adrian Boult
The Danserye: I. La Mourisque - Early Music Consort Of London/David Munrow
Radetzky March, Op.228 - Wiener Johann Strauss Orchester..
Rhapsody In Blue (Opening) - LSO/Andre Previn
Caprice in a, Op.1 No.24 - Itzhak Periman
Aida, Act I: Se Quel Guerrier Io Fossi...Celeste Aida - Placido Domingo/Riccardo Muti
Tpt Con in E flat: III. Rondo (Allegro Molto) - Maurice Andre/Karajan
Pno Con in g, Op.33: III. Allegro Con Fuoco - Sviatoslav Richter/Kleiber
Ser 'Eine Kleine Nachtmusik', K.525: I. Allegro - Academy Of St. Martin In The Field/Marriener
Sym Fantastique, Op.14a: IV. Marche Au Supplice - Orchestre National De France/Bernstein
Tea For Two - Yehudi Menuhin/Stephane Grappelli

Tracks:

Adagio - The Philadelphia Orchestra/eugene Ormandy
Pagliacci, Act I: Recitar!...Vesti La Giubba - Jose Carreras/Riccardo Muti
Veni Sancte Spiritus Sequence (Mode I) - Choir Of the Benedictine Abbey Of Silos
Str Qt No.13 in B flat, Op.130: V. Cavatina (Adagio Molto Espressivo) - Alban Berg Quartett
Cosi Fan Tutte, Act I: Soave Sia Il Vento - Marshall/Baltsa/Van Dam/Muti
Hpd Con in D: III. Allegretto - Bob Van Asperen
El Grillo - Hilliard Ensemble
Vecchie Letrose - Hesperion XX/Jordi Savall
Vespro Della Beata Vergine Deus In Adiutorium...Domine Ad Adiuvandum Me Festina - Taverner Consort, Choir & Player
The Four Seasons: Spring: I. Allegro - Anne-Sophie Mutter/Karajan
Requiem in d, K.626: Dies Irae - Choeurs Et Orchestre De Paris...
La Bella Helene, Act I: Amours Divins - Jessye Norman/Michel Plasson
Cl Con in E flat, Op.26: III. Allegro - Sabine Meyer/Herbert Blomstedt
Porgy And Bess, Act I: Summertime - Dame Kiri Te Kanawa
Sym No.8 in F, Op.93: IV. Allegro Vivace - London Classical Players/Roger Norrington
Messa Da Requiem: Sanctus - Orchestra E Coro Del Teatro Alla Scala, Milano...
Show Boat, Act I: Make Believe - Frederica Von Stade/Jerry Hadley/John McGlinn
Romance No.2 in F, Op.50 - Frank Peter Zimmermann/Jeffrey Take
Sym No.8 - Part 2 (Conclusion): Alles Vergangliche - LPO/Klaus Tennstedt

Tracks:

Porgy And Bess, Act II: Bess, You Is My Woman Now - White/Hayman/Rattle
Die Walkure, Act III: Loge Hor! Lausche Hieher! - James Morris/Bernard Haitink
L'Africaine, Act IV: Pays Merveilleux...O Paradis - Placido Domingo/John Barker
Winterreise, D.911: Der Lindenbaum - Olaf Bar/Geoffrey Parsons
Hansel Und Gretel, Act II: Der Kleine Sandmann Bin Ich...Abends, Will Ich Schlafen Geh'n - Hendricks/Bonney/Von Otter
Carmina Burana: 5. Ecce Gratum - The London Philharmonic/Franz Welser-Most
Vn Con No.1 in g, Op.26: III. Finale (Allegro Energico) - Kyung-Wha Chung
Don Giovanni, Act I: Or Sal Chi L'onore - Cheryl Studer
Chant Des Moissonneurs Vendeens - Thomas Hampson
No.5 From 'Set No.1': Calcium Light Music - Ensemble Modern/Ingo Metzmacher
Vc Ste No.6, BWV 1012: VI. Gigue - Mstisiav Rostropovich
Hungarian Dance No.2 in d - Sarah Chang
Son in G, K.55 - Christian Zacharias
Sym No.2 in e: III. Adagio (Opening) - Petersburg Philharmonic/Mariss Jansons
Son in A, D.959: II. Andantino - Stephen Kovacevich
Pno Qnt in E flat, Op.44: III. Scherzo. Molto Vivace - Martha Argerich
Werther, Act III: Toute Mon Ame Est La!...Pourquoi Me Reveiller? - Roberto Alagna
Die Meistersinger, Act III: Verachtet Mir Die Meister Nicht - Bernd Weikl/Sawallisch

Tracks:

Spring Song - Adolf Umbach
The Queen Of Spades: Forgive Me - Nikolai Figner
Norwegian Bridal Procession, Op.19 No.2 - Edvard Grieg
Mattinata - Enrico Caruso
Pagliacci: Ah! Tu Mi Sfidi! - Josefina Huguet
Oberon - Ov - LSO/Arthur Nikisch
Gas Shell Bombardment By The Royal Garrison Artillery Outside Lille - Royal Garrison Artillery
Ecossaise, WoO 83 - Ferruccio Busoni
A Message To The Children Of The Empire - King George V And Queen Mary
La Boutique Fantasque (Excerpt) - British SO/Adrian Boult
La Boutique Fantasque (Excerpt) - Royal Albert Hall Orchestra/Eugene Goossens
Messiah: Behold The Lamb Of God - Crystal Palace Handel Festival Chor/Orch...
Parsifal, Akt I: Transformation Scene - Bayreuth Festival Orch/Karl Muck
Pno Con No.1 in e, Op.11: III. Rondo. Vivace - Moriz Rosenthal
Epiphanias - Gerhard Husch
Sym No.41 in C, K.551 'jupiter': I. Allegro Vivace - LPO/Sir Thomas Beecham
Partita No.3 in e, BWV 1006: III. Gavotte En Rondeau - Yehudi Menuhin
Mikrokosmos, Vol.VI No.146, Ostinato - Bela Bartik
Zigeunerweisen - Jascha Helfetz
Sym No.9: II. Im Tempo Eines Germachlichen Landlers - Wiener Philharmoniker/Bruno Walter
pelleas Et melisande, Avte II: Vous Ne Savez Pas - Joachim
Haydn Vars Op.56a - Wiener Philharmonkier/Wilhelm Furtwangler
Belshazzar's Feast - Praise Ye The God Of Gold - Dennis Noble
Sym No.9: IV. Poco Adagio - Tempo I. Poco Adagio - Schwarzkopf
Pno con in f# Op.20: II. Theme And Vars. - Solomon
Sym No.5 in e, Op.64: III. Valse. Allegro Moderato - Orchestra Del Teatro Alla Scala/Milano...
Die Meistersinger Von Nurnberg, Akt III: Qnt - Schwarzkopf
Sym No.7: II. Allegretto - Philharmonia Orch/Nikolai Malko
Scheherazade: IV. Festival At Baghdad - RPO/Sir Thomas Beecham
Das Lied von Der Erde: III. Bon Der Jugen - Fritz Wunderlich
Ich Wollt' Mein Lieb', Op.63 No.1 - Los Angeles
Vc Son: III. Largo - Jacqueline Du Pre
Images: No.3, Rondes De Printemps - LSO/Andre Previn
'Death And The Maiden' Qt: III. Allegro Molto - Alban Berg Quartett
Die Walkure, Akt II: Der Dort Mich Ruft - Cheryl Studer
Pno Con No.1 in d, Op.15: I. Maestoso - Stephen Kovacevich
Sym No.2 'Resurrection': V. Mit Aufschwung Aber Nicht Eilen - Arleen Auger/Dame Janet Baker

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