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

1. Cecilia Bartoli may not be the finest mezzo-soprano extant but few would doubt her exceptional artistry and professionalism. In "Se tu m'ami", she transforms simple, even primitive, melodies into beautiful, dare I say, rapturous arias, in the finest bel canto tradition. I now understand why Paisiello was a favourite of Buonaparte and why I should now acknowledge Vivaldi for his considerable versatility and creativity. The disc now occupies a top shelf in my CD rack. Bravissimo Cecilia.



2. Even for the non opera afficianado, these beautiful songs, rendered with exquisite style and grace and meticulous accompaniment,make for enthralling listening. I listen to this album more than any other I have ever owned. I simply never get tired of the songs. It is a true collection that builds one on the other. It becomes totally engrossing placing the listener in a world all its own.



3. This disc is a perfect example for young singers studying from the 24 or 26 Italian Songs and Arias and the like. Cecilia Bartoli posesses a beautiful voice.



4. I feel like recommending this compilation to neophites wanting to listen to some old arias to learn if they like this genre and to singing students:
   Ms Bartoli's voice is not beautiful, nor perfect when heard live, but her technique sounds perfectly good on record. Here and there her voice gets harsh, flat, losing brilliance and warmth, but most of the time one can concentrate on the accurate rendering of these old and beautiful arias.
   
   She wisely decided to follow the letter of Parisotti's score, therefore meeting the need of all singing students of having a reference for their study. The agility is outstanding but pronunciation and expression, as well as the perfect gusto in presenting the phrases, are what make this compilation worthwhile. Not a word goes wasted or neglected but her being Italian and her sensitivity manage to avoid overkill.
   
   One could wish she would publish compilations of single authors of the xvi and xvii centuries, edited according to philological criteria or else other compilations of the dated but still useful Parisotti edition.



5. A great singer is one who dedicates singing to the text itself instead to himself/herself.
   This is achieved 100% by Ms. Bartoli in this earlier album of hers. The recordings here cannot be termed otherwise than 'immaculate'. The very opening song 'Gia sole dal gange' is a display of Bartoli's unique timbre in its full beauty - glorious, rich and full. Many singers could tackle the range of this song, mezzos or sopranos, but who could pull it off in the manner as Ms. Bartoli? Credit to the one who picked this as the opening song of this fantastic album.
   The songs following come in different styles and moods, all given full authentic interpretations by the singer. Compare the 'Vittoria, vittoria mio core' to 'Intorno al'idol mio' or 'Amarilli, mio bella' the vast contrast of mood, brought out equally well. The songs' requirement of versatility of interpretation is fully catered for.
   I hate it when people say that this is a learners' album accompanying the 24 Italian Songs edited by one publisher. Such remarks could barely do justice to Ms. Bartoli's superb artistry, though admittedly, this CD would be an invaluable one for THAT purpose. What about the songs NOT included in the 24 Italian songs?

5 comments about Telemann: The Six Paris Quartets.

1. This is a very good pair of CDs, probably very faithful to the intent of the composer, and extremely well played except... The quartet goes into a bit of a funk during Quartet Four and most of Five. For example, Movement 1 of quartet 5 is titled "Vivement": "Lively". It is played, however, barely faster than the "Modere" movements, and without any more life.
   
   By the time they get to the second "Modere" movement of Quartet 5, and especially the "Pas Vite" (movement 5) though, they're back in gear. I think that these two Quartets must have been played at the end of a long day, or a long week. Or maybe it's just that any team has a hard time being completely "on" 100% of the time.
   
   
   But that barely distracts from an otherwise superbly played CD, with the purest flute/recorder sound I've heard in a long time, played with wonderful feeling except for the cuts I mentioned. The last two movements of the Sixth Quartet are some of the most beautiful and inspiring pieces I've heard in a while. And this CD is a tremendous bargain to boot!



2. Having heard so many mediocre performances of Telemann, I'd come to think of him as the most over-rated rediscovered genius of early music. In fact, I've been shunning concerts and new CDs of his work for years, and I've laughed smugly at the standard musicologist's tale of how Telemann was chosen for a prestigious musical position over Bach. Listening this recording of Ensemble Sonnerie, I find that the laugh is on me. Oh, not entirely; the six "Paris" quartets for flute, strings and harpsichord are vivacious and inventive, and structurally brilliant, but far from profound. Though all six quartets are presented together here, it would do them a great disservice to listen to them in a row, something comparable to playing six rounds of miniature golf with the same 10-year-old partner. Still, there's no denying that for galante music, Telemann is masterful, especially when performed by musicians who know and feel his temperament. Sonnerie features exactly such historically informed musicians, led by violinist Monica Huggett, whose fiddling is always both restrained and emotive. Listening to their spirited ensemble, I can at least imagine how some audiences of the 18th C might have been more charmed by Georg Philipp than by Johann Sebastain.



3. These quarters are the version that Telemann published in 1738 in Paris, played with modern sparkle on traditional instruments. While they are quartets in the sense that there are four instruments, the harpsicord is just a baso continuo, and the structure and the character of the works are nothing like the classical quartets that were soon to be developed. Rather, they are more in the nature of dance suites with the flute usually particularly prominent while the contrapuntal writing is nothing like as complex as that found in Bach's suites. However, taken on their own terms, these are very pleasing works, truly easy listening if not very demanding. The artists, especially Wilbert Hazelzet on flute and Monica Huggett on violin are splendid, and listening to them is pure joy.
   
   Listening to all six quartets non-stop can get a bit tedious, unless they are being used as background music (for which they are very suitable) but that is easily fixed by only listening to a few at a time. The accompanying notes in English, German and French are not particularly informative, and have the oddity that the French notes are not the same as the English and German ones. The French ones contain the nugget of trivia that one of the subscribers to the edition of the quartets on which these performances are based was J.S. Bach.
   
   Overall, this is a spendid set -- and very good value.



4. Telemann was a whole musican, to compose multi kinds of musics, ex sacred, operas, and instrumental musics. I heared some and find instrumental music are excellent better. Ex this disc six paris quartets,we could find the mature composition of flute in it. Besides, relaxed and happiess music often are found in it. It let me understand why Telemann was a great musician, so I recommand it.



5. We purchased this CD a little while back. The enjoyment is has afforded us since then has made it a constant companion. It is always handy, and often playing in the evenings.

5 comments about A Festival of Carols in Brass.

1. This is a terrific collection of Christmas music with the twist of a brass ensemble. I have used it to mix up a collection, and it really adds variety to the mix. Very well done.



2. Several raters have complained about the lack of a listing of the performers on this disc. The Philadelphia Brass Ensemble was nothing more than the principal and second players of the Philadelphia Orchestra. Perhaps "nothing more" is not the best way to describe this as the performers were, at the time, some of the best players in the US. Gilbert Johnson (trumpet) was considered (until his death from cancer a few years ago) one of the finest trumpeters to ever have played in a symphony orchestra. When I was growing up, Henry Charles Smith (trombone) was the model we all looked up to for how a orchestral principal trombone should sound. He was the Joseph Alessi of the time. The same could be said for Mason Jones (french horn) and Abe Torchinsky (tuba). All of these players had students who are playing in major symphony orchestras around the world and continue to inspire future performers through their many recordings. To my knowlege, the performers are:
   
   Gilbert Johnson (Trumpet)
   Seymour Rosenfeld (Trumpet)
   Mason Jones (French Horn)
   Henry Charles Smith (Trombone)
   Tyrone Breuninger (Trombone)
   M. Dee Stewart (Euphonium)
   Abe Torchinsky (Tuba)
   
   Cheers!



3. This CD is all instrumental of well known traditional christmas carols. One of the pieces is a brass version of "Twelve Days of Christmas" is my absolute, all time favorite version. We have enjoyed ours for years and bought two more to give to family members so that (hopefully) when we visit them over the holidays we can listen to the good stuff!



4. This is one of my favorite holiday recordings - a classic from 1967. Beautiful brass renditions of 25 carols.



5. This is exactly the cd of traditional carols I was looking for. Those who want less traditional carols would probably like "A Christmas Concert" by the Pittsburgh Symphony Brass.

5 comments about Trio Mediaeval: Folk Songs.

1. I haven't been enthusiastic about this ensemble of women singers, Trio Mediaeval, on their previous CDs, singing potpourris of chant and polyphony. Their voices are more individually interesting than those of the better-known Anonymous Four, but they've 'schmalzed' up the reverb and used other little gimmicks to trick themselves out as 'spiritual-sounding.' On this CD, however, they've tapped into their Norwegian roots, utilized the special vocal quality of Norwegian women singers, caught all the trollish mystery of ancient runes and isolated fiords. We Swedes depend on our Samii and Finnish singers for equally "weird" and heathenish vocal effects, but we can't match the Norwegians. I've never heard this music before except when kayaking farm to farm on one of the northernmost fiords. Trio Mediaeval has saved something very deep and enchanting from oblivion. The samples for the MP3 on amazon are adequate to give you an idea. Me, I bought five copies in Goteborg to put in the Christmas stockings of my five living aunts in Minnesota.



2. 
   These three young women have beautiful voices which blend magically to produce images of Norway's past - cold forests and fairy tales. Their singing, with north-european harmonies and maybe a basic instrument as accompaniment, is perfection. More please - but not so much more that this remains unusual.



3. The fresh sounds of this group make wonderful listening. Their harmonies are clear, the music is different, and they have done extensive research on the histories of the songs.



4. I do not find this CD nearly as wonderful as others have found it. I listen to music for many reasons and my tastes range from classical music to many other genres, including folk and traditional music. I have a large collection of Celtic music. Two reasons I listen to music are to enjoy the melodies and to relax. I simply cannot perceive the melodies here and the harmonies I find too dissonnant. It is very difficult for me to relax and enjoy this music. I cannot hear what others apparently hear in it!



5. This group is very, very good. Harmonies are very tight; melodies are fascinating, even if somewhat unusual for the "normal" American taste. Every selection is very high quality music. My only suggestion -- blend it with other music. A full hour plus of this trio is nearly too much; maybe it's my radio listening history, but mixing it with something a little different only accentuates how good it all is.

5 comments about The World's Favorite Piano Music.

1. If you a piano student, your teacher will probably assign you at least half of the compositions in this CD. You need to hear how they should be played. This is a wonderful CD to use to help you learn the pieces. These piano selections are not the "World's Favorites" for nothing - they are memorable and enjoyable for young and old alike. I love this CD.



2. This is by far one of the best CD's in my collection. I love classic piano music. Thank you so much.



3. Van Cliburn is the best and I love him playing the best music ever composed.



4. Arrived very quickly in great condition, perfect gift for my boyfriend who wanted so lovely piano music.



5. Van Cliburn is a master pianist, and this CD is pure listening enjoyment. I generally am not into clasical music, but this is fun. His working fingers convince me that they are not working. They are dancing, and they are having great fun. WONDERFUL!!

5 comments about Hilary Hahn: A Portrait.

1. It's beyond words. My feelings about this extraordinary artist are impossible to quantify. I would have an easier time describing the most beautiful sunset that I have ever seen. All I can say, is that this DVD slays what is left of my rendered humble heart.



2. Very nicely organized. Hilary Hahn is the best native born American violinist. As a nation, we need more of this kind of young people to make USA more cultural country. I am a little disappointed for not having she plays more familiar violin concertos composed by Brahms and Mozart in the video. Perhaps she would make music DVD that include those.



3. For fans of Hilary Hahn's music, this hour-long documentary is a welcome look into her touring life and personality. Hahn guides us around her music academy, the Curtis Institute, there's some short performances and recording sessions, a glimpse into Hahn's life on the road and some interviews probing her views on musical interpretation, recording, and performance. The camera-work and editing are serviceable and about what you'd expect from a television program.
   
   Hahn seems to do her best to entertain the camera but ultimately the program presents what Hahn is willing to share with the public. She specifically avoids divulging her views on anything extra-musical-- not a bad stance for a musician, of course-- but it means there's absolutely zero in the way of controversial, juicy or edgy material on the DVD.
   
   There's some bonus scenes featuring her collaboration with Natalie Zhu, but both come across as a bit stiff in front of the camera here.
   
   Overall, a decent hour of programming for fans of Hilary or classical music in general.



4. It's a great performance of Korngold Violin Concerto. The body of the movie is really not that long but OK. I wish there are more of her performance clips at her younger age. I guess that's why it's not a documentary movie but a portrait.



5. Hilary is a fantastic violinist. Her tempi are a bit fast, but she can handle the speed much like Anthony Newman on the organ or harpsichord.
   
   If you want a great recording of the Bach Violin concerti, this is it!

4 comments about Zaebos: The Book of Angels, Vol. 11.

1. 
   I haven't heard other albums in the Book of Angels series, so while I tend to appreciate the work of John Zorn, I approach this record with Medeski, Martin and Wood as the focus of my interest.
   
   And Zaebos IS interesting. Recent MMW studio albums have all involved guitarists, horn sections, turntablists, rigorous production strategies and other additions to create a layered soundscape that simultaneously enfolds and expands the trio's dynamic range. Zaebos, by contrast, is stripped-down and somewhat subdued, and it plays a little like --dare I say it?-- a traditional jazz album, though not without MMW's characteristic edge and energy.
   
   The trio is in elemental form here, and they develop and shape Zorn's compositions without ever being constricted. The result is original and refreshing, at turns prowling and meditative. The melodic structures of Zaebos are distinctly middle-eastern, and while the rhythms are strong, these songs don't seem to groove so much as slink, drift, and whirl, the music of clandestine intrigue and hypnotic reverie. Evocative of the restless excitement and haunting quietude of late nights in distant lands, this album is an excellent addition to MMW's already diverse catalog...



2. I agree with most everything the other reviewers have said except for the rating. This disc is diverse and full of passion. I love the subtleties of so many of the tunes. Its so satisfying to hear mmw play within these structures. For me the one of the most welcome additions is medeski's piano playing. the piano sounds so good on the fourth track. I'm glad they didn't turn everything funky- some of the tunes demand a different rhythmic edge. It's not as elegant or quite as colorful as vol. 10, but energy, ideas, and interplay are all on display.



3. I have been a cult fan of Zorn's "Book of Angels" series since the Feldman/Courvoisier disc came out in 2005. So it was with considerable excitement that I read that Volume 11 would be performed by the Medeski, Martin, and Wood. I was excited to to hear the Book of Angels material interpreted with a funky backbeat. To that end, the disc is a disappointment; MMW did a masterful job in their interpretation of Zorn's music, but the boys have unfortunately left the funk at home. In short, it sounds like a Zorn record. There are HINTS of the signature Medeski, Martin, and Wood groove throughout. "Sefrial" evokes that slow, gentle groove that peeks its head on MMW's slower numbers. And "Rifion" harks back to the group's more acoustic sound in the early 90's. But these are after all only hints.
   Now, I am NOT being unfair here. Volume 1 of this series is a masterful collection of original piano jazz. Volume 7 (probably the most abrasive in the series) takes the Book of Angels melodies and translates them into Hendrix-styled acid rock grooves. And Volume 10 of the series has a vaguely Cuban feel. I wanted to hear the BOA material "all funked up" as they say.
   That said, for a fan of the Book of Angels material iteself (no matter who performs it), this disc IS quite good. "Zagzagel" opens the disc with a sinister bass line and intense (yet controlled) drums. Sets a mood of dread that permeates the disc. "Malach ha Sopher," practically a tone poem, brings the disc to an ironically subdued climax before the denouement of "Tutrusa'i."
   It's an excellent disc, but the promise of what MMW could have delivered to the Book of Angels series makes for quite a letdown.



4. In the past few years, composer John Zorn breathed new life into his Masada project by composing a second book of songs for it: the Book of Angels-- some 300 jazz heads written using "Jewish scales", performed by musicians in and out of Zorn's downtown community. Referred to on the record label's website as "three prodigal sons...returning to the fold", keyboardist John Medeski, bassist Chris Wood and drummer Billy Martin at one time or another were associated with the downtown community, but found success as part of the jam band scene. "Zaebos" finds them performing eleven of Zorn's Book of Angels compositions.
   
   Right from the start, the band hits the ground running on opener "Zagzagel", with some superb drum work, a nice driven keyboard line and a great splattering solo over a deep groove. In fact, this is pretty much the recipe for the album-- somewhat disjoint playing by Medeski over consistently phenomenal drumming and groove-locking basslines. The trio moves through a number of moods, covering trancey organ trios ("Sefrial"), acoustic piano jazz ("Rifion"), fractured, downtown jazz ("Ahaij"), deep funk ("Vianuel") and bubbling, tense, minimalist avant-garde (the stunning "Malach Ha-Saphor").
   
   But as diverse as it is and as good as the performances can be, something doesn't quite grab me about this one. I can't put my finger on it, but with many of the other other volumes in this series, I was floored. But except for "Malach Ha-Saphor" and spiritual-jazz tinged "Chafriel", not much on this one really grabbed me. This is a good album, but it's missing something to make it a great one.

5 comments about Jacqueline du Pre - Favourite Cello Concertos ~ Boccherini, Dvorak, Elgar, Haydn, Monn, Saint-Saens, Schumann.

1. Du Pre was, and will unsupassed by contemporary cellists for generations. She is still the best, and will be remembered by many forever.



2. If you enjoy good cello music this is for you. Jacqueline du Pre is a master.



3. No complaint about the performance.
   
   But the recoding or A->D conversion somewhere went terribly wrong. The dynamic range seems set very low therefore the loud part of the music gets 'clipping'. For example, Disk 3, Track 1, between 0:40 to 1:10, you can clearly hear the distortion noise at the high level of the music (not your playback volume).
   
   What a pity, the recoding engineers simply not up to the job and ruined such a fine performance!



4. This is a wonderful collection of Jacqueline du Pre's work, both because it traces her development as an artist, her unique interaction with various conductors and her interpretations of a variety of composers. Jacueline du Pre is a cellist for all time.



5. Jacquline du Pres interprettation of some of the moast famous cello consertos is simply amasing. her music just flows with energy and abbowe all passion. she realy brings out the qaleties of the cello with intensety and softnes intertwined. music bursting with passion.

5 comments about The Time-Life Treasury of Christmas.

1. When we play this Christmas CD, we suddenly find ourselves back in time when we were kids listening to the stereo at home on Chrismtas Day. It's a perfect way to create or recall Christmas memories.



2. This CD has a good selection of traditional Christmas songs from the original artists that I remember from my childhood. You know, when it was still OK to say "Merry Christmas" to someone on the street. I played this CD and the other Time-Life Christmas CD all December long. I want my kids to have these songs as their Christmas memories as I do.



3. I enjoy Méhdi"Christmas Treasures",Charlie Brown Christmas ,Mannheim Steamroller etc.and this a magnificent production that I also enjoy just as much. The Time-Life Treasury of Christmas combines both volumes of the series into a two-CD set. Christmas Spirit features some of the season's liveliest pop hits, such as Perry Como's "Home for the Holidays," Ella Fitzgerald's "Jingle Bells," and Julie Andrews' "Joy to the World," as well as mellower songs like Bing Crosby's "White Christmas" and Andy Williams' "Do You Hear What I Hear?" Meanwhile, Christmas Memories gathers more nostalgic Christmas favorites, including Gene Autry's "Rudolph the Red-Nosed Reindeer," Johnny Mathis' "Sleigh Ride," Elvis Presley's "I'll Be Home for Christmas," and Guy Lombardo's "Auld Lang Syne." Comforting and traditional, The Time Life Treasury of Christmas is a worthwhile collection of some of Christmas' biggest hits.



4. Although I love the CDs, I was disappointed that there were only about half of the songs I thought there would be. I bought the original double cassette set back in the early 90's and when I found the CDs with the same name and cover, I thought I was getting the same thing only on CD. But the Cassettes had twice as many songs, including Let it Snow,Have Yourself a merry Little Christmas,The First Noel, Jingle Bells by Jim Reeves, The Christmas song by the Carpenters and so many others!!



5. It reminded me of Christmas as a child. I played this all throughout the holidays.

5 comments about Requiem & Magnificat/Rutter, Cambridge Singers.

1. This is a wonderfully nuanced & beautiful recording of this work. I don't understand why no one mentions the Lux Aeterna -- Donna Deam's rendering of the solo sounds purely angelic.



2. Our choral society members have found this recording a blessed adjunct to the song learning CDs for private practice. What a heavenly faithful recording, and conducted by the master himself.



3. I bought this to learn the requiem for a choral performance. It is hauntingly beautiful and I have listened to it again and again.



4. I have listened to many other composers' requiems, but this one beats them all. It is a little unusual to have both English and Latin liturgy in a requiem, but it is entirely appropriate in this case, as it contains the Mass, psalms, and personal prayers to Christ--I thoroughly enjoyed some of the burial service text sang along with the requiem mass. The Cambridge singers are sublime, and Caroline Ashton's voice (soprano) is perfect. Liner notes containing lyrics and translations are included if you do not speak Latin. The "Sanctus" is very unique and much faster-paced than I am used to, with high voices starting and baritones/tenors echoing. If I have anything to dislike about Rutter's requiem, it is the fact that there is no "Dies Irae" text at all; they seem to have been replaced by psalms. However, the excellence of the singers and the great choice of the texts makes up for it very well.



5. This is a quality recording with great performances of both works. These are two choral works which have stood the test of time by a great choral arranger and conductor who truly knows voices and choirs.
   The recording is clean and authentic, not "studio contrived."